Podcasts about anelle

Legal battles in Oklahoma continue between the Osage Nation and Enel. Equinor faces offshore wind project hurdles amidst U.S. offshore wind regulatory issues. Plus a rebranding announcement from Deutsche Windtechnik to DWT and a new study painting wind blades red to prevent bird strikes. Sign up now for Uptime Tech News, our weekly email update on all things wind technology. This episode is sponsored by Weather Guard Lightning Tech. Learn more about Weather Guard's StrikeTape Wind Turbine LPS retrofit. Follow the show on Facebook, YouTube, Twitter, Linkedin and visit Weather Guard on the web. And subscribe to Rosemary Barnes' YouTube channel here. Have a question we can answer on the show? Email us! You are listening to the Uptime Wind Energy Podcast, brought to you by build turbines.com. Learn, train, and be a part of the Clean Energy Revolution. Visit build turbines.com today. Now here's your hosts, Allen Hall, Joel Saxum, Phil Totaro, and Rosemary Barnes.  Allen Hall: There's more news out of Oklahoma. The state of Oklahoma has. Entered the legal ballot between the wind developer in EL and the Osage nation. It, we all recall on the podcast probably a year ago where the Osage Nation had won a lawsuit with the help of the federal government to take down a big wind farm in north central Oklahoma. The state of Oklahoma has filed an amicus brief opposing the immediate removal of the 84 turbines in Osage County. Now, this is a big deal [00:01:00] because pretty much the last I saw, which is a while ago, the order was that they needed to take down all the turbines and reclaim the land, basically put it back to where it was before the turbines were placed in it. Now the state of Oklahoma is stepping into the mix and they're citing a couple of things. They're saying that the state of Oklahoma has an interest in property laws and protecting tax revenue. However, Osage doesn't fit into Oklahoma laws. It's not their territory. And meanwhile, the Osage tribe is saying, Hey, this is over and we have mineral rights, and these turbines need to come down. So this is a kind of a weird spot because Anelle's in the middle of this, now that the state's gotten involved against the federal government, is there a missing link here? Is, this is certain more to this story because it does seem like some wheels are turning at the moment. I think,  Joel Saxum: Phil Allen.[00:02:00] You guys are very smart, right? But I think we need someone smarter than us to decode this whole thing as far as like maybe a lawyer that can get in there, because Alan, you hit it on the head, Osage tribe and Osage tribe lands do not actually fall under Oklahoma law. They have their own sets of laws, so you have a federal ruling saying that something must happen within, of course, the outlines of the state of Oklahoma, but within the greater outlines of the United States. But now the state wants to be able to go against the federal ruling to have their own rights recounted for while this, the Oage tribe is saying no, like we've already passed and I think the total bill that NL is gonna was supposed to get stamped, it was like $300 million, which is crazy 'cause it doesn't cost $300 million to remediate 84 turbines. However. This isn't necessarily a wind turbine take down exercise. This is a mining reclamation exercise after you take the wind turbines down. That's why it costs so much. [00:03:00] So there's a lot of money on the table for nl and now you have the Oklahoma Solicitor General Jerry Gary Gaskins stepping in and saying Hey, we're also getting some kind of tax revenues to the state and things like that from the wind farm. But I wouldn't think that would go to the state in this case. I would think it would go to the Osage tribe. So I don't understand the state's. The state's position in this.  Phil Totaro: But Phil, do you have any insights on that? Unfortunately, I do not. But what's interesting about it is that you had,

It's that time of year again—the biggest and most high-stress event in Hollywood is upon us. With the Oscars just around the corner, here are our predictions for who will take home the gold. To help us, we reached out to our friends Anelle Dehghani who is the head of sales at The Coven (Terrifier 2 and 3) and screenwriter/ film critic Mark Palermo. Mark is also the co-host of the Movie and Chaos podcast. We also touch on the Emilia Pérez controversy. The 2025 Oscars are Sunday March 2nd at 7pm EST. Anelle Dehghani https://www.instagram.com/anelled/ Mark Palermo https://www.instagram.com/thetruemarkpalermo/ Check out Mark on the Movies and Chaos podcast wherever you get your podcast.   Talk to us Goose www.howdyoulikethatmovie.com

It's an EmMajority Report TUESDAY! Sam is out in Las Vegas for the Mass Torts Conference, so Emma is filling in! She speaks with Annelle Sheline, a former staffer with President Biden's State Department, to discuss the reasoning behind why she left her post, namely the Biden administration's efforts to continue to supply military assistance to the Israeli military's offensive in Gaza. First, Emma runs through updates on Israel's murder of World Central Kitchen and expanding fascist effort, major headlines for today's primaries, Florida's abortion ban, RFK's ballot access, Mike Johnson's Ukraine Aid, and far-right legal battles, before expanding on the details of Israel's slaughter of WCK workers. Anelle Sheline then joins, diving right into the context for her resignation in protest from Biden's State Department, exploring her work on Yemen that preceded joining the government, and the continuing human rights work she participated in over the first year of her contract with the government. After parsing through the major factor – Biden's continuing support for Israel's genocide of Palestinians in Gaza – for her resignation, Sheline parses through some of the greater (albeit immaterial) dissent within the Biden government, including a State Department that is well-prepared to begin enforcing the human rights and arm-sales policies that the US is currently circumventing to support Israel's war, also touching on why the electoral pressure of the “uncommitted” vote is having the biggest sway on Biden in terms of dissent. Next, Anelle walks Emma through the greater implications of Biden's support for apartheid on a global scale, including how it plays into the US' already degrading status on the international stage following the Iraq War and Donald Trump, and Israel's continuing insistence on expanding the conflict throughout the Middle East, before wrapping up by touching on the role of the Abraham Accords in pushing this conflict, and the overwhelming domestic dissent facing Israel's occupation (despite warming relations with some regimes). Emma also parses through the various “uncommitted” movements in today's democratic primaries, and Wisconsin's ballot initiatives. And in the Fun Half: Emma talks with Owen from LA about the lack of coverage around bubbling dissent over relations with Israel in both Jordan and Egypt, as well as Turkey's recent elections, before diving into coverage of Israel's continuing slaughter of aid and healthcare workers in Gaza. Donald Trump dissects the aesthetic problems of genocide, Moody from Minneapolis expands on the horrors of the US' elimination of UNRWA funding, and Charlie Kirk has a predictable problem with Larry David. Dave Rubin carefully asks Ben Shapiro about Candace Owens, plus, your calls and IMs! Read Annelle's Op-Ed piece about her decision in CNN here: https://www.cnn.com/2024/03/27/opinions/gaza-israel-resigning-state-department-sheline/index.html Become a member at JoinTheMajorityReport.com: https://fans.fm/majority/join Check out Seder's Seeds here!: https://www.sedersseeds.com/ ; use coupon code Majority and get 15% off; ALSO, if you have pictures of your Seder's Seeds, send them here!: hello@sedersseeds.com Check out this GoFundMe in support of Mohammad Aldaghma's niece in Gaza, who has Down Syndrome: http://tinyurl.com/7zb4hujt Check out the "Repair Gaza" campaign courtesy of the Glia Project here: https://www.launchgood.com/campaign/rebuild_gaza_help_repair_and_rebuild_the_lives_and_work_of_our_glia_team#!/ Get emails on the IRS pilot program for tax filing here!: https://service.govdelivery.com/accounts/USIRS/subscriber/new Check out StrikeAid here!; https://strikeaid.com/ Gift a Majority Report subscription here: https://fans.fm/majority/gift Subscribe to the ESVN YouTube channel here: https://www.youtube.com/esvnshow Subscribe to the AMQuickie newsletter here: https://am-quickie.ghost.io/ Join the Majority Report Discord! http://majoritydiscord.com/ Get all your MR merch at our store: https://shop.majorityreportradio.com/ Get the free Majority Report App!: http://majority.fm/app Check out today's sponsors: ExpressVPN: Make sure your online activity and data is protected with the best VPN money can buy. Visit https://ExpressVPN.com/majority RIGHT NOW and get three extra months free through my special link. That's https://ExpressVPN.com/majority to learn more. Follow the Majority Report crew on Twitter: @SamSeder @EmmaVigeland @MattLech @BradKAlsop Check out Matt's show, Left Reckoning, on Youtube, and subscribe on Patreon! https://www.patreon.com/leftreckoning Check out Matt Binder's YouTube channel: https://www.youtube.com/mattbinder Subscribe to Brandon's show The Discourse on Patreon! https://www.patreon.com/ExpandTheDiscourse Check out Ava Raiza's music here! https://avaraiza.bandcamp.com/ The Majority Report with Sam Seder - https://majorityreportradio.com/

Note: This show was recorded prior to the SAG awards and the Producers Guild of America.  This is it, the night of nights and yea yea we know the Oscars are on March 10th and we are wee bit early. Well we wanted to bring you two amazing guests with  Anelle Dehghani (The Coven) and filmmaker  Reese Eveneshen.  With friend's like this who needs a co-host.   Talk to us Goose www.howdyoulikethatmovie.com Twitter

So the year has ended and everyone has done their Best of Lists but as they say "save the best for last". So, without further ado "Trumpet sound" let's get on with the show. Helping us with the heavy lifting are our guests Anelle Dehghani and Katisha (Kat) Shaw. Anelle Dehghani has 10 years of experience in film editing, marketing, sales and acquisitions in the independent entertainment industry; working in both international and domestic markets. Instagram: https://www.instagram.com/anelled/ Twitter: https://twitter.com/AnelleD Katisha (Kat) Shaw is a queer actress, writer, and film producer with roots in both Canada and Costa Rica. She and her business partner J.C.Davidson head DTRM Inc, a production company which released a slew of high profile films in 2023, most notably their film Backspot which premiered at the Toronto International Film Festival (TIFF). Do Things Right Media If you listing/watching our show don't forget to head over to Apple podcast and give us a five star rating and leave us a comment. Talk to us Goose www.howdyoulikethatmovie.com Twitter

On this week's episode, I have actor Chris Gorham, (Out of Practice, The Lincoln Lawyer, NCIS: Los Angeles and many many more) and we dive into the origins of his career. We also discuss the work-life balance he has with his family and some of the things he wishes more actors were aware of while filming. There is so much more, so tune in.Show NotesChris Gorham on Instagram: https://www.instagram.com/chrisgorham/Chris Gorham IMDB: https://www.imdb.com/name/nm0330913/Chris Gorham on Wikipedia: https://en.wikipedia.org/wiki/Christopher_GorhamMichael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Newsletter - https://michaeljamin.com/newsletterAutogenerated TranscriptChris Gorham:But in getting to know them and talking to them, Almost all of them had day jobs, like worked for the city, Worked, worked for construction crews. They had full-on-day Jobs. Some of them were Entrepreneurs, some of them worked in government. And that was a New idea to me because that hadn't been my experience here. But as the income and equality has increased so dramatically, It feels like that's where our business has been going, where everybody has to have another,Michael Jamin:You are listening to, what the hell is Michael Jamin talking about? I'll tell you what I'm talking about. I'm talking about creativity. I'm talking about writing, and I'm talking about reinventing yourself through the arts.Chris Gorham:Like my backdrop, this is my, oh, I love it. Official SAG after LA delegate backdrop that we used him during the convention.Michael Jamin:I know you're a big show. We're starting already. I'm here with Chris Gorham, and he is an actor I worked with many years ago on a show called Out of Practice. He's one of the stars that was a show with starting Henry Winkler, stocker Channing, Ty Burrell, Chris Gorham, and Paul Marshall. It was a great show on CBS and only lasted a season. But Chris, Chris is about as successful working actors as you can, short of being like someone like Brad Pitt, who's known across the world. You've done a ton of TV shows, and I'm going to blow through them real fast here.Chris Gorham:Okay. You can, I can't talk about them still, but your strike is over so you can,Michael Jamin:Yeah, right, because Chris is, I guess he's in sag and actually you're one of the members, you're one of the, what do you call yourself, the king? SoChris Gorham:I'm the king of SAG aftra. No, I was elected to be on the LA local board and also elected as a delegate. So that's what this background was. Our official LA delegate background forMichael Jamin:The research delegate for for the model. What does that meanChris Gorham:For the convention? Yeah. It's kind of reminiscent of Model un. So it's the convention that happens every two years where all the delegates get together and we elect the executive vice president, and there's certain offices that get elected by the delegate membership.Michael Jamin:I don't think we have that in the Writer's Guild. I think we have a direct democracy. You, I guess have a representative democracy.Chris Gorham:Yeah. Yeah. It's a much bigger union. How bigMichael Jamin:Is it? How big do you know? AboutChris Gorham:160,000 members.Michael Jamin:Wow. Okay. Members, but that's active members. And what do you have to be to be an active member?Chris Gorham:What do you have to be? DoMichael Jamin:You have to sell? You have to work a certain amount or something?Chris Gorham:No, once you're in, you can stay in as long as you pay your duesMichael Jamin:Every year. Oh, okay. But then that doesn't mean you get health. You have to qualify for health insurance and stuff like that. Correct.Chris Gorham:Well, it's a big part of the strike. It's one of our big talking points really is only about 13% and just under 13% earn enough to qualify for our healthcare plan. And I mean, that's only about $26,700 a year to qualify for healthcare.Michael Jamin:That's a big deal. I mean, healthcare, healthcare. So most people don't realize this, and it seems so naive to say this, but I get so many comments when on social media, all these actors are millionaires. Dude, what are you talking about? You can be a working actor and book two gig. You're lucky if you do two gigs a year. AndChris Gorham:Well listen, it goes to the heart of what this strike is about is that it's worse than people even think because just to what's the best way to talk about it? So a big part of our asked during this negotiation is a big increase in the contributions to our health and pension plan by the producers. And the reason is that they haven't increased it in a long, long, long, long time. So for instance, one person could work, let's say you got hired to do an episode and got paid very well, right? For one episode. Let's say you're getting it, it's an anthology show. They're paying the top two people like series regulars, and you're getting a hundred grand for one episode. So you would think a hundred thousand dollars. That is a lot of money for one episode. If I'm doing that, I am clear. Definitely qualify. You do not qualify for healthcare because you've only done one episode and the producers only have to contribute up to a certain amount. So even though you've made a hundred grand in one episode, you still have to book another job, at least one moreMichael Jamin:And clear,Chris Gorham:Not going to qualify for healthcare.Michael Jamin:I've produced a lot of shows. I don't recall ever paying a guest star anywhere close to a hundred thousand an episode. No, not even close.Chris Gorham:No, no. And the minimums have, right now, I think for a drama, the minimum's around $9,000, maybe a little more than that for an episode for top of Show guest start like the top paid guest shows on those shows. Yeah, you can't. And it's become almost impossible to negotiate a rate higher than the minimums.Michael Jamin:You can have a quote and they go, well, that's too bad. This is what we're paying you.Chris Gorham:Correct. This is what we're paying you.Michael Jamin:Let me just run through some of yours so people know who we're talking about because some people are listening to it. So Chris is, I'm going to blow some of his bigger parts, but he works so much. So let's start with Party of Five where you did four episodes, which I love that show. I just had to mention that, but of course, popular. You did a ton of those. Felicity, remember that? Odyssey five, Jake 2.0, which you started in medical investigation out of practice, which I mentioned Harper's Island Ugly Betty, Betty Laa, which I loved, of course, covert Affairs and what else? I'm going through your list here. Full Circle two Broke Girls. You worked with two of the broke girls and insatiable the Lincoln lawyer, and that doesn't include any of your guest chart. So you are incredibly successful actor and you've strung, actually, I want to hit on something. Sure. So this is a little embarrassing on my part. We had a technical, this is our second interview because I had technical errors on my point. I'm not that good with technology, even though I've done well over a hundred episodes of this, and Chris graciously allowed me to do this over. But one of the things that you said, the thing that struck me the most during our last talk, which I found incredibly interesting and humble, I said to you, Chris, how do you choose your roles? And do you remember what you said to me?Chris Gorham:Yeah, yeah, of course. Yeah. I said, I should be so lucky. Yeah. The reality is, it's like actors like me. I've had a lot of conversations with actors like me who star on television shows, multiple television shows, and we all joke about how many times we've been asked in interviews. The questionMichael Jamin:Really,Chris Gorham:Why did you choose this to be your next project?Michael Jamin:Right. Well, I wanted to eat. That's why.Chris Gorham:Yeah, yeah. Because I think journalists sometimes forget, and they think that we're all to use your example, Brad Pitt, and that we're being sent scripts and we get to choose what our next project is, but in reality, that is not at all. What happens, what happens for the vast majority of us is we are sent auditions. Sometimes we get the scripts, sometimes we don't. And we put ourselves now what used to be going to the casting office. Now we put ourselves on tape and we send it off into the void, and we hope that we get hired.Michael Jamin:And you'll work on a part. When you do get the script, how long will you spend preparing for that before you submit your tape?Chris Gorham:Oh, it depends mostly on two things. One, how many pages it is, and then it depends on how well written it's, to be honest. You've heard this before.Michael Jamin:Go ahead. Tell me.Chris Gorham:The better the writing, the easier it is to memorize.Michael Jamin:Right. And explain why that is.Chris Gorham:Well, the reason is is because it makes sense. If it's written like a human being talks, then the next sentence follows from the sentence before. If you understand the emotion of what's going on, then it just makes sense and the dialogue flows and it's just so much easier to memorize. The stuff that's always the hardest is when you're the character that's laying pipe and you're just spewing out exposition and it's not really coming. Listen, the good writers are always trying to tie it down to that emotional reality, but sometimes you got to lay pipe, and that's stuff's always the hardest, particularly if it's a bunch of medical jargon or legal jargon. That kind of stuff is crazy.Michael Jamin:And what people don't also realize, I think, is when you're starting out an actor, oh, I could play everything. I could play a villain. I could play a teacher, I could play a biker, I could play a doctor. That's fine when you're in your high school play, but in Hollywood, you're going to be cast the part that you are closest to because if not, we will cast someone who looks like a biker or who was a biker, and we'll cast someone who looks like a doctor. Right? Yeah. So you have to figure out who you are, basically.Chris Gorham:Yeah. Well, it's one of the, I went to theater school at UCLA and I was very lucky because during my freshman year, they decided to start a conservatory program within the theater program there. So we all auditioned and I got into this conservatory program. So for my last three years, it was conservatory training, and I still got my bachelor of arts degree from UCLA. It was the best of both worlds. One of the things that I felt like a few years out after having it is I wished they had spent a little bit more time helping us learn how to act like ourselves. You spend so much time in theater school, learning how to stretch your creativity, working on your voice, working on your body movement, body awareness, vocal awareness, and then learning how to play all these different kinds of parts and all the plays you're doing. All the parts are filled from college students. So sometimes you're playing an old man, sometimes you're playing a young woman who knows. But the second you start auditioning for roles professionally, you're only going to be seen for roles that you physically look like. And so it's really important to quickly learn if you haven't already, how to be you. Right. How do you do that version of you?Michael Jamin:Where do you begin with that?Chris Gorham:Well, it takes practice. We used to do an exercise. It was in one of the very beginning acting classes. In fact, I didn't even take this acting class. I was observing, I think my senior year, one of the grad students was teaching it. And it was just as simple as everybody got in circle and instead of being crazy and dancing like a tree or whatever, it was literally, it was just walk across. Just walk from point A to point B. Just you just don't do anything. Just walk from what, and you would be surprised how difficult that can be becauseMichael Jamin:You become self-conscious of what you'reChris Gorham:Exactly right. You become and you feel like you should do something mean. And especially for a bunch of theater kids who've kind of grown up in their theater school, all high schools and stuff all over, it's all about being big, and it's all about the jokes and getting attention and to let all of that go and just be in the market is a very difficult thing for a lot of people. But it's super, super important. And that carries through forever. Just being just be there. You don't have to do anything, particularly when you have a camera on you, and particularly when it's time for your closeup, you don't have to do a lot. You just have to be there and be present and alive in the scene.Michael Jamin:But so much, I think some people, they greatly underestimate how difficult acting is because it looks like make-believe and whatever. We're just, you're having fun on the camera, but to be in the moment, especially when the cameras are on you and everyone's watching in, go hurry up and go, because we've set up the scene for half hour and we want you to shoot it now. And it's so hard to stay in the moment, I think. So how do you stay in the moment when you become conscious that you're actingChris Gorham:Now? If I become conscious that I'm acting now, I'll just stop.Michael Jamin:You willChris Gorham:Often I'll just stop and say, can we start over? Can we just go back to the top because for whatever reason, and then go again. Because if I'm conscious, then I'm not in a scene, then it's not going to work and they're not going to be able to use it. So I would just stop and go back. I mean, it's the great advantage of film, right?Michael Jamin:But you do much theater anymore, because that's different when you're on stage.Chris Gorham:I only feel like benefits and things for years. We're rehearsing for one this weekend, we're doing the Girls Benefit to raise money for breast cancer research.Michael Jamin:So it's one show.Chris Gorham:It's one show. I mean, for me, I've been a single income family of five for almost 23 years. So with that, I haven't able to afford to go and do theater, but I miss it. I love it. I did two weeks, 14 years ago, I did two weeks in Spalding Gray Stories left to Tell in New York off Broadway.Michael Jamin:Really? So you were Spalding Gray, I mean, it's a one man show,Chris Gorham:Right? Yeah, yeah. Well, it's a one man show split into five different personalities. So it's different parts of him. And so the business part, they would swap out celebrities every two weeks. And so I came in and did that for two weeks, and it was the best.Michael Jamin:And this was in New York?Chris Gorham:Yeah.Michael Jamin:That's amazing. How did something like that come up? How do you get that?Chris Gorham:I don't know. I don't remember. I don't mean it must've come through my agents or my manager. I don't remember. I don't remember.Michael Jamin:Wow. How interesting.Chris Gorham:Because now, I was just going to say now, it's been so long since I've done, I've become, I'm so out of the loop of LA theater in particular, which is kind of more feasible for me at this point, just because it's close and easy. I don't even really know how to get back in. In fact, one of my youngest was doing a summer theater camp at Annoys Within, and it's close to where we are. So I was trying to figure out, I reached out to my manager, I was like, Hey, is really close. Is there, are they doing anything that would make sense for me to do something with them over there? They were like, yeah, that's a great idea. And they never heard anything. So I just emailed them my photo and resume with a letter, and I never heard anything back. So I literally, I don't even know how to approach getting cast in theater anymore,Michael Jamin:Because your agent, there's not enough money for your agent to work on it.Chris Gorham:They couldn't be less interested.Michael Jamin:I'm always curious how that works. We just saw a show at the Pasadena Playhouse and I was like, well, how do these actors, how do they, yeah, ifChris Gorham:You find out, let me know the Playhouse also write down the street. It'd be amazing.Michael Jamin:Yeah, there's always some, but then again, you would have to commit to something. And during that time period, let's say it was two months, you can't take other work you've committed and something big could come along, who knows? IChris Gorham:Mean, maybe. But also that is, you live with that fear all the time, no matter whatMichael Jamin:Do you mean even if you're on a show, you mean?Chris Gorham:Well, not if you're on a show, then you're working well, then you worry about the show being canceled and then that you're never going to work again. But when you're not working, well, this brings up two thoughts. One is there's a fear of taking something that's not the big thing, because you are afraid that if you do this smaller thing that it's going to conflict with the big thing that might be just around the court. And the other thought that it brings up is I talked with so many actors over the years who are not working and are really struggling and feel paralyzed about going to try and do anything else because there's this intense peer pressure that, well, you can't quit. You can't quit now that your moment, it might be just around the corner, it might be the next audition.Michael Jamin:You mean quit Hollywood and do something for a different career, youChris Gorham:Mean? Yeah, go do something else. You got to hang in. You got to hang in. And I feel like it's a really difficult balancing act because the truth is that this business is really, really hard to go back to the strike. It's gotten increasingly difficult to the point where it's almost impossible with an actor to make a living, to be able to raise a family, to be able to put your kids through college and those kind of life things that are important to so many of us.Michael Jamin:And I know, and that's why you fight and that's why you fight. And that's why it's so people think, well, so what for actors? But the problem is like you're saying, if actors can't make a living in between or you're starring in a show, that's great, but the show will probably get canceled up to one season. But you still need to keep a healthy talent pool of actors who can continue to keep a living, because if they can't, they're going to leave. And then how are you going to cast as writers and producers? How do you cast this part if there's not a healthy talent pool? That'sChris Gorham:It. That's it. We can't continue paying the stars these massive, massive, massive amounts of money and having everybody else working on these tiny minimums because it's unsustainable. The best and the brightest of us that haven't won the lottery are going to go do other things because there's more to life and life. You can be an actor without pursuing it as a career.Michael Jamin:But I haven't heard those notions come up at all. Maybe I'm not just tuned in, but the idea of, well, maybe we're paying the stars too much, or has that been a discussion at all?Chris Gorham:I mean, I have that discussion. Yeah. Oh, really? Well, yeah, because it's not that, well, certainly for me, and not so much from my personal experience, but just from my kind of bleeding heart observations of this business, when you see movies, it's why, like I've said for a long time, the only way now to make a living in this business is if you're a star or a series regular on a TV show.Michael Jamin:Yeah. Yes, I agree with that. It's theChris Gorham:Only way because all of the supporting cast, none of the supporting cast makes enough money to make a consistent living in this business because your stars get massive amounts of money. Everyone else is working scale, and the minimums have not risen nearly enough to make it enough. And the stars, well, this is the excuse the studios use, is that they're paying the stars so much. There's no money left to pay anybody else over scale, so no one else can negotiate over scale. And in tv it's a similar thing. So it just makes it very difficult.Michael Jamin:And not only that, LA has always been an expensive city to live, but now it's crazy. It's like crazy. I can't afford, if I hadn't bought my house when I did it, I couldn't even come close to affording this house and have a middle class house. It's something special about it. So these are the issues that actors are fighting over. Yeah, it's an important, it's so interesting when you hear your friends or colleagues thinking about leaving, do they tell you what they're going to do or what they want to do? It's such a hard thing when you're middle aged, what are you going to do?Chris Gorham:Right. No, it's true. It's true. No, I have some friends that have gone into teaching.Michael Jamin:Okay.Chris Gorham:Yeah. Most of my actor friends are still around. Have one friend who started the business ages ago and still runs that business while she's worked periodically as an actor throughout all of these years. And she still works frequently, but her main income is from this business that she created. Right.Michael Jamin:She's very, so you got to be entrepreneurial, basically. Yeah.Chris Gorham:Yeah. It's funny. I did a movie early in my career where we shot in Tonga and New Zealand, and we had a lot of New Zealand actors were working on this film and in talk, and some of them were quite famous in New Zealand. They were working on this famous New Zealand TV show, like legitimate celebrities. But in getting to know them and talking to them, almost all of them had day jobs, worked for the city, worked, worked in construction crews. They have full on day jobs. Some of them were entrepreneurs, some of them worked in government. And that was a new idea to me because that hadn't been my experience here. But as the income inequality has increased so dramatically, it feels like that's where our business has been going, where everybody has to have another gig.Michael Jamin:Yeah.Chris Gorham:It didn't used to be that way. And I don't think that it has to be that way.Michael Jamin:Yeah, I agree with you. Yeah. I mean, it's definitely, yeah, it seems very unfair. It doesn't seem, well, I mean, I guess all things is fair about being an actor. Being an actor has always been a pursuit of like, well, is there anything else you could do? Then choose that? But true, it seems like now it's like, I don't know. What do you do? What recommend then for people, young kids or kids, whatever, 20 year olds who considering getting into the business?Chris Gorham:Yeah, I mean, that advice I think is evergreen. That if you can go do something else as a career, absolutely do something else as a career. Oftentimes the advice I give is when you're young, spend a lot less time thinking about what you want to be when you grow up and spend a lot more time thinking about what kind of life you want to live when you grow up, what kind of things do you want to do? And then you can find career paths that will allow you to live the kind of life you want to live. And it becomes less obsessed with having a certain job.Michael Jamin:Well, that's something to consider. So for you as a working actor, sometimes you'll be on location, you might be in a different city. Is that something you away from your family, which is hard as you were raised in a family, is that something you considered? Is that something you would reconsider now?Chris Gorham:I had no idea. I grew up in Fresno, California. My mom was a school nurse. My dad was an accountant. They didn't know what to do with me, and I didn't know anything about the business. I wanted to be. Yeah, I didn't know. Yeah. I had no idea. And so my first, and I was very fortunate. I got out of school, I started, I got my union card in 1996, the year I got out of school was booking occasional guest stars on things. My first job was one scene in a movie with two big movie stars, big famous director. It was awesome. And then I booked my first series just three years after school. Cool. And it was shot at Disney. It was like 10 minutes away from our little place we were renting. And then it was canceled and it came out of nowhere. And then I was very fortunate again. I booked another series two weeks later, but that one shot until longMichael Jamin:AndChris Gorham:I had no idea what that meant. And I left to do that pilot six weeks after our first born son, our firstborn was born. So my wife, anal had no idea what no idea we were doing. Suddenly we had a newborn baby, six weeks old, and then I'm gone for five weeks. It was extraordinarily difficult.Michael Jamin:I apologize. Something must be open and I have to shut it down because someone's, I'm sorry.Chris Gorham:Oh, no worries. Okay.Michael Jamin:I thought everything shut. But yeah, so to continue, so that's heartbreaking. You have a brand new baby and you're out of town. You left here.Chris Gorham:Yeah. It was hard. And we didn't, because we didn't grow up here, so we had no experience. I don't know how to do this. And no one was really kind explaining to us, okay, this is how you get through this. These are the different ways you can do it. These are the options. You know what I mean? I didn't have anybody, I didn't have a mentor or somebody guiding me in how to do this thing.Michael Jamin:But at any point in your career, you must, because worked for so many actors, you must have at some point found someone a little older and wiser. Right?Chris Gorham:Well, the closest thing we had was Anelle had Stacey Winkler. It was really sweet. Anelle used to sit next to Stacey Winkler at every taping, and they would just talk and Stacey would give her advice, and it was great. One week, Anelle come to the taping, and the next week Stacey scolded her and was like, you have to be here every week and let everyone know that that is your husband.Michael Jamin:Interesting. I remember she came to, I think every out of practice,Chris Gorham:Everyone.Michael Jamin:So why is it about staking your territory? What was that? Or is this being supportive?Chris Gorham:What was it? No, I think it was both, but I think partly staking your territory. I was the young guy, the young handsome guy on this show, and it's a CVS show, and so she was like, you need to be here. But then it was also she said, but then he's the star here at work. You have to make sure that when you get home, the kids are the star, not him. You have to make it veryMichael Jamin:Clear. Was there a difficulty for you? Is it hard to go home and not be the star? What was that like?Chris Gorham:I had gotten pretty good at it, certainly by then. But I would imagine looking back in the beginning, it's kind of that power corrupt and absolute power. Corrupt absolutely. Of course can go to your head when you are getting a little famous and you're making some money. And when you're at work, you are catered to, you're one of the stars of the show. You're catered to a handed foot. Everything's taken care of. I've described it as series regulars are treated like fancyMichael Jamin:Babies on set.Chris Gorham:Don't upset the babies. You need to keep them safe at all times. You need to keep them comfortable at all times. You don't want them crying. You don't want them cranky. You need to keep them fully regulated because when everything's ready to roll, we need the fancy babies to be able to perform. And as soon as they're done, we want them to go back to their cribs slash trailers so that then the grownups can finish getting everything ready for the next shot.Michael Jamin:And imagine giving this kind of pressure to a child actor. I mean, have you worked with many child actors?Chris Gorham:Yeah, many over the years, and I can say almost all of it. Almost all of it's been a good experience. I haven't had any total nightmares with child doctors. That being said, every parent that's asked us about getting their kid into the business, we have always advised against it. And we didn't encourage any of our kids to get into it.Michael Jamin:It's rough. I haven't worked with many child, I just haven't been on shows with a lot of kids. And I am glad because I have a feeling I would when a kid is messing around on set in between takes or just not being professional because they're acting like children the way they are supposed to act. In my mind I would be thinking, stop fucking around. This is work. I know that's what I would be thinking, which is an awful thing to put on a child. But that's what you're paying them a lot of money to do. It's a hard position. I don't know. I just feel for those kids, I just feel like, yeah, I know. That's where Ill be thinking. Hopefully I wouldn't be saying it. Yeah,Chris Gorham:It's difficult. It's very, I mean, sets are, they're not for kids. They're an adult work environments, which by the way, some adult working actors need to be reminded occasionally that these are adult working environments. This is not your personal playground. But yeah, it's a difficult environment for kids. So I mean, you need them. So I'm grateful that they're there.Michael Jamin:I think that too sometimes. Sometimes I'll see an actor goofing around too much, and we're all, I'm like, dude, let's get out of here. All the crew wants to go home. They've been working 12 hour days for the past week and a half. They want to go home too.Chris Gorham:Well, let me tell you, this is one of the things where with every showrunner that I've become friendly with, I highly encourage them, if at all possible, to bring their series regulars behind the curtain and bring them to at least one production meeting that show them how the sausage really gets made, expose them to all of the other incredibly creative, intelligent, wonderful people who make up this team that makes the TV show or the film. Because then they get to see, because as cast, especially as the stars of the show or the film, you really are treated as if you are the most important cog in this machine. And it's really helpful, I think, and just the team morale, if actors understand that they are a very important cog in that machine, but just one of the cogs in the machine. YouMichael Jamin:Said you learned this, I think when you first were directing, you started directing episodes of the shows, you weren't, right?Chris Gorham:Yeah. I had think a basic actor's understanding of how things work on set. And I'm not to blow my own horn. I'm generally a nice person. So I'm kind to people. I'm nice to everybody on set. I learned people's names. I generally understood what people did, but only when I started directing did I really understand just how incredible the whole ensemble is and how much the rest of the team has to offer and is contributing to the show or the film. It was just a level of respect that I don't think I could really have until I was allowed behind the curtain to see how it was happening. So whatMichael Jamin:Would you recommend? Would you recommend that every week one actor attends a production meeting? Is that what you're saying?Chris Gorham:Listen, that's one way to do it. Right. However it works for that showrunner, for that production, I would just encourage them because I just feel like so often, and I think, I don't know if it's true now, but I've talked to showrunners in the past that have talked about the show and the training program and about the message they got was to keep the cast at arm's length. Really? Yeah. And there certainly can be good reasons for doing that. I can understand why that sometimes makes the job easier, certainly, and sometimes maybe makes it possible. But I just think there's more to gain by bringing them in to letting them see, really meet the whole team and get to know the whole team. And because there's just, I mean, truly, you see what the set designers do, and you see what the customers do, and you see, we get to understand how lighting works. You know what I mean? It's just how hard the ads work on putting together with the schedule and learn why the schedule gets put way put together the way it gets put together. And once you understand it, then maybe you're a little less mad about having to be last in on Friday, two weeks in a row.Michael Jamin:Yeah.Chris Gorham:You see, it's like they're not out to get you. They are trying to accommodate you, and you are not the only factor that is being accommodated.Michael Jamin:You're talking about the writers now?Chris Gorham:No, I was talking about the cast look, in regards to schedule casting,Michael Jamin:Very, very frustratedChris Gorham:About scheduling.Michael Jamin:Oh, I see. Yeah, that's always right. I can see why that would be frustrating. So what happens? You get a call sheet and you're told to come in whatever, 8:00 AM and they don't get to shoot your part until 1:00 PM and you're like, why did they call me in so early? And sometimes it just happens. It works out that wayChris Gorham:Sometimes. Yeah. They're trying. They're trying. And sometimes it just doesn't work out. And with the scripts, with writers, it's a similar kinds of thing. It's like once you understand how many chefs are in the kitchen of getting these scripts, these stories broken, and then these scripts written how many notes the writer has gotten about their script from the studio and then from the network before it ever gets to the cast.Michael Jamin:You're making me anxious just talking about it. No joke.Chris Gorham:Sorry. And then that's why as a cast member, when you then go to the writer and say, Hey, can I ask you about this? Your writer looks like they're dying a little inside.Michael Jamin:Yeah. No, no, I can't do that.Chris Gorham:And it's like, so the best writers that I've worked with have always been very organized about how actors give notes. They're like, if we're doing table reads on a show, they'll be like, look, we're going to do the table read. Everybody's got 24 hours to give whatever notes or feedback you've got about the script. And then after that, we're considering it locked. Please respect that once you're on. The idea being that you don't want to spend a lot of time on the day when you're there waiting to shoot, talking about suddenly having questions about the scene and asking it to be rewritten. That's not the term.Michael Jamin:Yeah, it's not. And because we have to get next week's script and next week's script is a disaster. I'm telling you, it's in terrible shape. That's how it always is.So you want to worry about this. What about the crashing plane out there? That's going to be, I remember, I have to show, I can't remember if I mentioned this last time we spoke, but one of my favorite experiences of working in Hollywood was when I was an out of practice, and I can't remember what I was doing. I think the showrunner, Chris, I think he had me deliver pages up to the actress. It was show night right before the show, and I don't know why it was made, but for some reason, I remember carrying a couple of scripts to the dressing room maybe an hour before the showtime, and you guys were all there, the whole cast, and you're holding hands. And Henry's like, come on, Michael, come on in, come on. And I'm like, what's going on right here? And you're all just holding hands. And he goes, and he invited me in. I'm like, but I'm a writer. What do you mean? No, grab some hands. So I remember taking who, who's hands? I don't know, but I'm in the middle. I'm with a circle. I'm holding hands. I'm like, what is going on here? And then you guys did, I don't know what you would call it, but it was some kind of, it'sChris Gorham:Like a little vocal warmup or something. No,Michael Jamin:It was almost like a blessing. It was like a blessing. It was almost like, what's it, we are here to, I am curious if you've done this since then. It was like, we are here to support each other. We're going to have a wonderful show. We're all together. We're a family. And it was almost spiritual. It was very, I guess you haven't done that. You don't remember this.Chris Gorham:I remember doing that. I don't remember that specific moment. But that was all Henry.Michael Jamin:But it wasn't every week that you guys didChris Gorham:That. Every week we did that.Michael Jamin:Yeah. Okay.Chris Gorham:Yeah. Every week it was our ritual, but Henry started as the ritual before we went down to start the show. We would have this time just with a cast or occasionally with a writer who'd come in.Michael Jamin:I thought it was a beautiful moment. I really did.Chris Gorham:It was really great on dramas. You don't do that because you don't have that moment where you're all together about to go start the show. That's already happened to me on sitcoms.Michael Jamin:So maybe it's a theater thing then. Do you thinkChris Gorham:For sure it's a theater thing. Yes. Yes.Michael Jamin:Yes. So tell me, this happens on other employees always before every show or before every night. Opening night every night. Yeah.Chris Gorham:I mean, of course it depends on the show, right? It depends on who's there and who's, but yeah, thinking back, even when I was a kid in Fresno doing local theater, they would always feed circle up right before Showtime.Michael Jamin:Is that what they call, is there a name for this circle up? What is it?Chris Gorham:No, no. That's just what I'mMichael Jamin:Using. So there's no nameChris Gorham:For you get in the huddle. You get in the huddle.Michael Jamin:But I really thought, I still remember it. I was touched by it that this is something that you guys did to support each other so that you could hold space and feel safe in front of a crowd and know it was a very team thing. And I was like, wow. I felt almost like I was invading it. I felt like I don't belong here because I'm not on stage with you guys. But that's what I remember. It struck me. Something else that always struck me was how well guest stars were greeted by the regular cast. That's a very, very position. You've been on both sides of that,Chris Gorham:Right? Yeah, for sure.Michael Jamin:For sure. What's that on both sides for you?Chris Gorham:I've worked on shows where I have, where series regulators never spoke to me. We were in a scene together, but outside of the scene never spoke to me.Michael Jamin:So action. And this is the first time you're talking to them.Chris Gorham:Correct.Michael Jamin:I suppose that could be good if your characters were just meeting for the first time, but is thereChris Gorham:Sure. I guess. I guessMichael Jamin:I guess.Chris Gorham:But we could, we're professionals. We could pretend. But that was pretty early in my career. Now I don't really have that experience anymore. But also, I took it with me and I made it a point, having had that happen once or twice early in my career, that once I was the series regular, I've always made it a point to never ever do that,Michael Jamin:To always welcome the guest star and just absolutely greet them. It's a hard thing to stay. I mean, think about it's the first day of school for them. Yeah. You're walking into, you don't know anybody. I,Chris Gorham:No, it's difficult enough. Like you said, this is a difficult job. And why make it harder on somebody who is coming in on the bottom of the rung of power at this show? Why would you use the very real power that you wieldMichael Jamin:Show it's It is real.Chris Gorham:Yeah. Why would you wield that to make someone who's on your team, right? Uncomfortable. Why you?Michael Jamin:But we know these actors. I'm the star. I want you. I want to remind you. It's like, dude, we know. We know.Chris Gorham:Yeah. There are people like that. I feel like that's the exception. It happens. Oh, really? But I feel like it's the exception.Michael Jamin:Interesting.Chris Gorham:Yeah.Michael Jamin:Hey, it's Michael Jamin. If you like my content, and I know you do because you're listening to me, I will email it to you for free. Just join my watch list. Every Friday I send out my top three videos of the week. These are for writers, actors, creative types, people like you can unsubscribe whenever you want. I'm not going to spam you, and the price is free. You got no excuse to join. Go to michaeljamin.com/watchlist. And now back to what the hell is Michael Jamin talking about?One thing we also spoke about, which was very interesting to me, was I don't know what they call now, I guess, what do they call? They call it sex coordinators. What is the role for those peopleChris Gorham:Who, oh, intimacyMichael Jamin:Coordinators. Intimacy coordinators. But you mentioned that they have other functions. It is not just when two people are lying in bed, half naked. It's also for,Chris Gorham:So the way that I describe it to people who've never heard of intimacy coordinators is everyone's familiar with stunt coordinators. So stunt coordinators are brought onto a set to keep actors physically safe. Intimacy coordinators are brought onto a set to keep actors emotionally safe.Michael Jamin:And this is relatively new thing. Maybe what, five or 10 years or something? Maybe less,Chris Gorham:Right? Yes. New. And we are pushing to make them required. But one of the hurdles before we can make them a requirement like a stunt coordinator is required. One of the hurdles is actually getting enough intimacy coordinators qualified, trained and qualified to do thisMichael Jamin:Job. Are most of them, are they therapists, counselors? What's their training, do you think? No,Chris Gorham:I think a lot of them come from the acting court. Really? Really? Yeah. Yeah. BecauseMichael Jamin:You mentioned it's not just that. It's also like if you have two characters yelling at each other in a scene, no sex, they're just yelling at each other that an intimacy record will talk to you afterwards, right?Chris Gorham:Yeah. So here's a couple things that we did. I'd worked on a show where we had a scene, it was a sexual assault scene, but there were no clothes, there was no nudity and things stopped before things progressed to the point where we were physically exposed. But that kind of scene, you're very emotionally exposed, right? And this was my first time interviewing with an intimacy coordinator. I didn't really know what to expect. So there was a part of the conversation was, okay, for instance, it's written in the script that the other character is going to reach down and grab your groin. And I talked to the in music coordinator saying, I talked to the director and the director wants to see that. He said, are you comfortable with that? Here's what we have to protect you. We have a piece that's going to go between your pants and your underwear to protect your groin.And so when she grabs you, that's all she's grabbing. It was like, okay, great. That's super helpful actually. Great. I've never had that before. And it seemed like that. And it's nice. It makes me feel more comfortable. Certainly makes her feel more comfortable. Who wants to do that? Nobody. But then after the physical parts of discussion, then the conversation shifted. And she said, another thing that I've done with a lot of actors who've done scenes this, I would recommend that you put together a self-care routine for the end of the day. I was like, well, what do you mean? Like it could be anything. Whatever is going to be comforting to you. Some people, you might make a put things together. So you can draw a bubble bath when you get home. You might put together a playlist of music that makes you feel good.It might be pictures of your kids, could be whatever it is that is going to give comfort if you need it at the end of the day, because you never know what scenes like that might trigger. And that's the thing is you write scenes like this and it's necessary for the story, and you works as appropriate for the characters, but you never know what the actors as people, what their life experience has been. And they may have in their real life, been through an experience like that. And so then reenacting it can be very triggering. And it's the thing about acting when you're doing these emotional scenes, be it anger or big crying emotion, your body doesn't know you're pretending.Michael Jamin:Exactly.Chris Gorham:Exactly. So you mentally, well, this is pretend none of this is real. We're on a set crew numbers and friends, but your body doesn't know the difference. Once you're experiencing those emotions, you are experiencing those emotions and you never know what it's going to bring up. So that kind of care, emotional care, I thought is really great.Michael Jamin:And it's like, you'll do this just so people are aware. If you have a scene where you're screaming and yelling or sexually assaulting someone or whatever, and your adrenaline's pumping and whatever, your, not hormones, but cortisol. Cortisol is racing, whatever. All this stuff is going through your head and your body doesn't know, and you're doing the scene a dozen times and it's very hard. I feel it's must be hard to wash that out of your system.Chris Gorham:Can be. It can be. I mean, that's the thing. And it's different for everybody. I ended up, I was okay at the end of the day. I was exhausted, but I felt okay. But I was glad that I'd put some thought into, if I'm not feeling okay, here's what I'm going to do, it's going to help me feel better. And just having thought about it, I think just helped.Michael Jamin:No, I don't think I've ever worked with an intimacy coordinator because in comedy we don't really do a lot of that. But is it always a sexually charged? Is that what the line is? It's not just drama. There always has to be some kind of sexual element when they're brought in. Is that what itChris Gorham:Is? That's certainly how it started. And I think now it's one of the things, it's still new. We're figuring out when it, certainly on the sexual stuff, I'm trying to think. It was interesting. There was a resolution. I think there was a resolution that's going to be coming up the convention. There's lots of conversation about intimacy coordinators. But there was some conversation that had never crossed my mind. But once I was talking to someone about it, I thought, yeah, you know what that makes a lot of sense is bringing in intimacy coordinators when you're physically with children. Physically with children. So for instance, you are playing a dad and you're working with kids and you're getting in bed and cuddling with the kids at bedtime, or you're putting your daughter on your lap to have, because they had a rough day and you're cuddling and you know what I mean? And you're having physical contact with kids to have an intimacy coordinator there just to make, because again, you don't know what people's experiences been to protect the kids so that there's a conversation and there's somebody there watching. And I thought, you know what? Smart, that's a great idea.Michael Jamin:That is a really smart idea. Because we don't know what these kids have been through. We don't know.Chris Gorham:And again, most actors, most people in the world are caring, kind, certainly empathetic. That's their wholeMichael Jamin:Job. That's the job.Chris Gorham:But just like any other profession, some people need help. Some people don't always have the best intentions, and some people don't always behave well. And so it's important. So yeah, I thought that was just such a good idea.Michael Jamin:I totally agree. We also spoke about how you handle it when you are working with an actor who maybe isn't as professional or prepared as you are in the scene and what you do. I thought it was interesting what you had to say.Chris Gorham:Okay, so huge pet peeve. For me. It's like, no, it really bugs me when you're working with someone who hasn't bothered to learn their dialogue. So that's a huge No-no. But then sometimes you are working with an actor who just isn't great, who just for whatever reason isn't great. So my strategy for dealing with that is I just basically start acting to an X. I just don't, whatever they're giving me is just bad. What I know is that the editor is going to cut around the bad performance and they're going to use me. So it's even more important for me to stay completely engaged in the scene. And it's an extra level of acting challenge because then you're acting. It's like, I don't know. It's working on one of the superhero movies or something where you just start treating them like a tennis ball and you do the scene regardless because you can't let them affect your performance. Your performanceMichael Jamin:PerformanceChris Gorham:Has to be there.Michael Jamin:But let's say you were working with a casting director. I've worked with many, obviously many, and some cast directors, they'll read with you, and some of them are not great actors. NoChris Gorham:Read bad.Michael Jamin:And then you have, as an actor, you were trained to react and to what they give you, but how do you deal with it when they're not giving youChris Gorham:Enough? It is. It's really hard. It's one of the nice things about this whole self take resolution is that's kind of taken out of it because you've got, hopefully you have someone working with you that's going to give you something. And if not, you can do multiple takes and send the best one. It was always one of the most difficult things about auditioning in the room is when you are, and I've heard so many horror stories, I've experienced just a couple, but when you're doing your audition and the person you're reading with is garbage, and so much of it becomes, it's not like how convincing their reading is. For me, it was always a rhythm thing. It was like they just aren't listening. And so the rhythm gets completely screwed up. And it's like,Michael Jamin:I always feel for actors when they have to do this, you have a crappy sketching director. It's like, well, what so hard.Chris Gorham:Or you look up and the casting director's like on the phone,Michael Jamin:That's even worse. EatingChris Gorham:Lunch and not this.Michael Jamin:If you prepared a scene and in this moment you're going to be hot, you're going to be yelling, and the casting director is not giving you enough for you to get angry at. So you're saying you just go ahead and do it the way you prepared, even though if the scene, but then it looks like you're almost looks like you're crazy. You're getting angry and the cast director's at the lunch. It's just something you got to deal withChris Gorham:Because that's the scene. And they're probably, even when you were in the office, usually they were recording it. Right. So all they're going to see is your side.Michael Jamin:Okay.Chris Gorham:So you have to doMichael Jamin:That's good advice.Chris Gorham:Yeah.Michael Jamin:I remember, this is years ago, we did a scene. We had this very famous actress. Actress. She was older, and we booked her and she came for the role and it was exciting to have her on set. She was very famous, but she should not be working. Her agent should not have booked her because I'veChris Gorham:Had an experienceMichael Jamin:Like that too. Really? So maybe she had dementia. I felt terrible because she clearly had dementia or early signs of dementia, so she literally couldn't remember one line. So you'd feed her the line, and even still, she couldn't remember it half a second later. And I just felt she, I didn't know what to do. I was like, she's struggling here. She's probably feels very embarrassed, very lost. Very, why did her agent send her out for this book? Maybe because she needed the insurance. I don't know. But it was a horrible situation. I felt bad all around.Chris Gorham:I've worked with an actress who a very similar situation, and they went to cue cards and they just did it line by line.Michael Jamin:Even with QI wanted to bring in cue cards. The director said, I don't want to bring q. I was like, what are you doing, dude? This is awful. I lost that fight. I thought we needed cue cards. They justChris Gorham:Shot her side line by line, and then I just did my side to an X.Michael Jamin:Yeah. Yeah. It's so interesting. That's one of the realities of being on a TV show.Chris Gorham:Totally. And it's one of the, but also why it's so important to not to get, just to do, at the end of the day, be responsible for your performance and make sure that you're giving the best performance that you can give and you can't control the other stuff that's happening. And then as an actor, then trust your director and your camera operators and your review that they're going to take care of you as best that they can and your editor. But it doesn't behoove anyone to make you look like an idiot unless you're supposed to look like an idiot. Right,Michael Jamin:Right.Chris Gorham:Everyone wants to make the show. Great.Michael Jamin:Are your kids getting into acting or have they expressed any No. You said with relief. No, not in the arts at all.Chris Gorham:No, no, no, not at all.Michael Jamin:Your wife was an actor. I mean, I'm, yeah, I'm surprised that there's not that pull.Chris Gorham:Well, my oldest son is autistic. He finished high school and now he's got a part-time job like pharmacy down the street. He's doing well, and his younger brother is studying business, wants to go into real estate. Oh, good. It's like, okay.Michael Jamin:Yeah, thank God.Chris Gorham:Yeah. And then our youngest loves to sing, has a beautiful singing voice. But yeah, no, he isn't really interestedMichael Jamin:GoingChris Gorham:Into the business, which is fine. We've never put any pressure onMichael Jamin:Them. Well, sure.Chris Gorham:And had they had a passion for it, we would be supportive, but it's just not, their heartsMichael Jamin:Taken them. It's funny. I'm sure they've come to set with you seen you do it. Yeah.Chris Gorham:Yeah. They think it's boring. They're like, this is so boring.Michael Jamin:It is boring. There's a lot of boring on a set. I don't know if,Chris Gorham:Yeah, it's super boring. They've never watching things with me in it because it's weird to see your dad not being your dad. Also, another thing, thinking about it, having just talked about Stacy Linker a little bit ago, I think part of the reason they don't like going to set is because it set. I am the star and not them. SoMichael Jamin:Oh, interesting.Chris Gorham:That doesn't feel great either. It's way better at home.Michael Jamin:What is it like for you though, when you're out in public? And fame to me is, so how do you experience fame when someone comes up to you and they think they know you and they want a piece of you? What does that do to you?Chris Gorham:Well, I've been really lucky, I feel like, because kind of been able to walk the line where I've experienced being famous enough to have the paparazzi jump out and want to take my picture and talk to me.Michael Jamin:That's a lot. That's a level of fame I don't think anybody would want to have,Chris Gorham:But never to the point where it really got in the way. It was just a few. There were some moments in my career where I was famous enough that the paparazzi knew who I was and would take my picture, but never famous enough that it reallyMichael Jamin:BotheredChris Gorham:You, caused problems. Never famous enough where I needed security. Never famous enough where it got really inconvenient.Michael Jamin:But let's just say you're at a restaurant and someone wants to come up, they want to talk to you, they autographed, they want to meet you.Chris Gorham:Most of the time people get it. I'm usually out with my kids and my wife, so they understand if they're coming up and I'm with my wife and kids, that it's a little awkward for them to ask me to stop dinner with my family to talk pictures or take. So that doesn't really happenMichael Jamin:Now. Oh, that's good. I mean, Brad, I could see your family being like, oh God, we're trying to have a night. We're trying to be together.Chris Gorham:There's been moments like that, especially for the kids. Anelle it, it's always been fun. Early in my career, it was weird because we were on a show and we couldn't go to malls because kids would chase us around malls in the very beginning. But then as you get older, that happens less and less. And then it's just been, sometimes it's surprising. My kids forget for a while. We'll go a while without getting recognized at all. And then weirdly, in Chicago, weirdly, I think the last show that I was on must have lots of people watched it in Chicago. And so suddenly, anytime I'm in Chicago, I'm recognized all the time. And so It's like my kids remember. Oh, right. Dad's on tv.Michael Jamin:That's soChris Gorham:Funny. Funny. When Ethan was starting high school was when a very popular show with the high school kids had just premiered. And that was actually really difficult for him. We've talked about it since. He didn't really reveal how hard it was for him, but last year we were talking about it and he was kind of opening up and said, yeah, no, it sucked. It wasn't great.Michael Jamin:Really?Chris Gorham:You were doing that show while I was starting high school and so everyone knew who I was and everyoneMichael Jamin:Knew who all his friends and all the kids. Yeah. It's hard for a kid and itChris Gorham:Was embarrassing.Michael Jamin:Yes, it was. They were embarrassed that you were their dad.Chris Gorham:Yeah. Really? It was super embarrassing. Yeah. Well, because of what that show, because of my character on the show for high school kids, just, it was a lot. I was physically quite exposed on that show and so yeah, it was a lot. It a lot.Michael Jamin:Oh wow. We did a show with these two guys link and these were big YouTubers and they were huge. And I hadn't heard of them. I didn't know them. And then remember we'd go for the meeting and one of them said to me, you wouldn't believe this, but I can't go to Disneyland without being swarmed. That was his crowd. He's like, I know you've never seen me before, but I can't go there without being swarmed.Chris Gorham:Yeah.Michael Jamin:It's so funny. Yeah,Chris Gorham:It's wild. Yeah. That was,Michael Jamin:It's interesting that this, go ahead, please.Chris Gorham:No, no, no, no. It was just a dumb Disneyland story. Go ahead.Michael Jamin:No.Chris Gorham:Well, the dumb Disneyland story was, there was a period in my career where working on a certain show where we could not only go to Disneyland for free, but also were given the guide and the behind we were taking care of at Disneyland, like a celebrity, which was funny because it was so, we did it a couple times, but I think even just the second time we went to Disney Disneyland, that way, it's too much. Honestly. It sounds great, and it's great the first time to be able to skip all the lines, you know what I mean? But after that, it's like, oh, there's actually way less to do at Disneyland than you think when you don't have to wait in line for anything.Michael Jamin:That's so funny. You kindChris Gorham:Of finish it all in four hours and then you're like, oh,Michael Jamin:Now what? Now what?Chris Gorham:Again?Michael Jamin:That's so funny. Yeah.Chris Gorham:Yeah.Michael Jamin:I'm always curious, I am always curious about how people experience I'm around you guys and how you guys experience fame and what is it like that parasocial relationship where people think they know you and they don't. They just know this part of you.Chris Gorham:It's different for everybody.Michael Jamin:Yeah. I always feel like it must be like, am I giving you what? When someone comes up to you, is there that thought in your head? Where am I giving you what you wanted? You just met me. Am I giving you what you wanted? Because I don't know what you wanted and am I who you wanted me to be for five minutes? Oh, that's funny.Chris Gorham:I don't think about it that way. I've just tried to be kind to people just, I just try to be kind. Just be kind. That's all. That's really all I'm thinking about is just because, listen, it could be worse. It's not terrible for people to be happy to see you generally.Michael Jamin:Right.Chris Gorham:That's not terrible. That's kind of nice. Can it be inconvenient? Sorry.Michael Jamin:Well, I saw a clip of Eve who played Jan Brady, right. And she was on the talk show. This clip was probably 30 years old or whatever, and someone in the audience said, can you just do it? Can you just say it? Can you say it right? And she's like, we knew what you wanted. We knew everyone knew. She wanted her to say, Marsha, Marsha, Marsha. And she was like, I'm not going to say it. I won't say it, and why not? And everyone was so disappointed, and I felt for her. I was like, because she doesn't want to be your performing monkey now. And that was when she was 10.Chris Gorham:Well, that's the thing too. It's like is a one you can be kind and say no.Michael Jamin:Yeah,Chris Gorham:Right. Just being kind doesn't mean you're going to say yes to every request,Michael Jamin:But that sounds like something you've maybe had a long conversation with a therapist to come to that conversation. Really? Yeah. That's something I would struggle with. Someone would say, you know, could be kind still say, no, am I allowed to? But you're saying you came to this realization on your own.Chris Gorham:I dunno. I don't know. Listen, I do see a therapist, and so maybe I don't remember having a breakthrough about that specifically, but certainly walking things through with a therapist can only help. Also, I think being a dad helps with that because in parenting, so much of the job is saying no. And that can be really hard sometimes, certainly for some people, but it's an important part of the job.Michael Jamin:Talk about how important do you think it is, and for you to either, okay. As a writer, I think it's very important to spend at least some amount of time in therapy because if you don't know yourself, how could you possibly know another character? And I wonder if you feel the same way. Same thing about acting.Chris Gorham:Oh, I've never thought about it that way.Michael Jamin:Really?Chris Gorham:Yeah. Yeah. No, I never thought about that way. But it certainly can be helpful. I mean, for the same reason. It just, it's spending that time thinking about, and sometimes it's taking that hour just thinking about the whys of things. You spend so much of your days reacting to everything and taking the time to go, okay, why did this lead to this? Why did I do that when this happened to me? And as a person, it's going to help you stay more regulated and be just healthier in life. But also, yeah, for sure. There's going to be moments when you're going to be able to understand a character brother, because you've maybe put some thought into why people doMichael Jamin:These things, why people do. Yeah.Chris Gorham:I been, one of the things I've

In this episode:Mike and Ed discuss the peace treaty between Earth and the Skrull Empire, as negotiated by Reed Richards and the Fantastic Four. How does Reed have the authority to sign such a treaty on behalf of Earth? Do the ends justify the means? Don't the Fantastic Four have a conflict of interest given that a Skrull killed Sue Storm's father? How would we feel if a Russian super team completed this negotiation? And now that we have gone to another galaxy, are we going to be able to go to Mars?More detailed summary of the podcast (from AI):Edward and Michael are discussing the Fantastic Four's recent mission to the Skrull's home world. Edward believes that peace has been achieved, thanks to the efforts of Reed Richards. Michael is skeptical and points out that there is no evidence to support Reed's claims, and that the Fantastic Four's actions could be seen as hostile and unauthorized. He questions who authorized the mission and if it was sanctioned by the United Nations. Edward believes that sometimes the US needs to take action, even if it's not sanctioned by the UN, and that in this case, it worked out. Michael is concerned about what would happen if it didn't work out.Behind the issue:This is the first appearance of the Skrull home world, but it is not named here (and is not named until 1983 — “Tarnax IV”). The Skrulls keep their promise not to invade Earth for three years, but change their minds in Captain Marvel #2 when they discover that the Kree had an interest in the planet.In this issue:Sue Storm is unhappy that the Skrulls were not punished for killing her father. This leads to Reed Richards deciding to take the team to the Skrulls' homeworld to bring the murderer of Sue's father to justice. And so the team embarks on this mission, flying in a spaceship of Reed's design, and with the blessing of NASA. They land on the Skrull. homeward and battle the Skrulls, leading to their capture. They are held captive by the Skrull who murdered Sue's father, Morrat, who plans to murder the Fantastic Four too. Just before they are killed, Reed offers Morrat unlimited power in exchange for sparing their lives. Meanwhile, Morrat's girlfriend Anelle tells her father, the Skrull King, that Morrat has captured the Fantastic Four. This angers the King, who races to confront Morrat. Before he arrives, it is revealed that Reed tricked Morrat into repowering the team (they had been depowered when they were captured), and this time the Four are about to defeat the Skrulls when the King arrives with reinforcements. Anelle is nearly killed by accident by the soldiers during their standoff with the Fantastic Four but is saved by Sue's invisible forcefield. This leads to Reed negotiating with the King to deliver to them the Skrull who killed Sue's father. They learn that it was Morrrat, who has been killed in the firefight. The Fantastic Four then journey home, safe and sound from their adventure.Assumed before the next episode:Reed starts to wonder how far he will go to impress Sue. What do you do after nearly starting an intergalactic war?This episode takes place:After the Fantastic Four return from their wildly irresponsible revenge mission to the Skrull homeward.Full transcript:Edward: Reed Richards has done it again, Mike. There is peace in the world. Peace in the universe. There's peace in the galaxy in the entire universe. We are no longer at war with the scrolls. Thank you. Reed. Richards.Michael: Well, okay. ? Yes. If we believe what Reed Richards says, then sure. But much like a lot of Reed Richard. Advice to us about battles and adventures that are unseen. There's no other proof beyond his good word. And what's kind of crazy right now is that what we're talking about is how Reed Richards and his team, the Fantastic Four, went to the scroll home world.Edward: That's right. We took the battle to them. They've been invading us, and we said, you know what? Enough of this, we're gonna take the battle over. I was gonna say overseas, but it's not overseas. It's over stars. What do we have vocabulary for? What they.Michael: over empty space. They went to the squirrel home world. A home world of people of, sorry, of like beings that can shapeshift and turn into,Edward: I think you can call them people. I think squirrels are people.Michael: Well, okay, let's call 'em people. They,Edward: they're not human people, but they're still people. Like, I think that we can use the broad definition of people. I think it could be insulting to call them. Not people. They're an animals. They're, they're people.Michael: Okay, well, sure, we'll call 'em people. So, but they're people that can take the form of anybody. So we're taking the word of Reed. Richards that he. To the scroll home world to negotiate a peace treaty, but at the same time also bring a killer to justice like somebody who killed his future father-in-law to justice. So let's break this down a little bit. ,Edward: there's a lot going on here, Mike. And we haven't even gone to the fact they didn't go there alone. They combine the technology that they've developed with research scientists at NASA in order to develop this, subspace traveler to travel to other galaxies. Like we've just opened up the universe for human explor.Michael: Okay. That's fascinating. And so, and I,Edward: you don't seem to care, like you don't seem to care on theseMichael: I aren't you, Lou, aren't you a little worried, ed, that it looks like either, there's a few things happening. Number one, the Fantastic Four took it upon themselves to basically invade a planet for no shifting people.Edward: It was with, nasa, it was Fantasic, Four, and nasa.Michael: I haven't read that being, I know that they had NASA technology, but did NASA Greenlight the plan to go invade another planet, to grab somebody and then also negotiate a peace treaty? And does NASA has a capability to do that? Is that within their authority?I doubt it. Number one, ,Edward: I don't know. I'm not sure The founding fathers really decided on what NASA could or could not do, was wasn't on their list of priorities when they were making the constitution in the 1700.Michael: Well, it, it wouldn't be, but that's just assuming that this only affects America, which it doesn't. What happened here is that American citizens went to another planet and in a hostile way to grab one of their citizens to bring them to justice, number one. And number two then apparently had free reign to negotiate a peace treaty with these people. And that isn't,Edward: what do you prefer? They didn't, Mike, do you want them to go there and then start a war? They went there and they ended a war. That's good. That's good news.Michael: Well, I don't know. I mean, this is what we're hearing.Edward: What you don't know. You don't know. Do you want us to be at war with them? You, we. Peace is good news, right? We can agree on.Michael: No, no, but hold on a second. We have to go through the proper channels on this to figure out this is done right, and this is actually in our interest. So number one, who green lit this? Who authorized this? Is this an American thing only or is this on behalf of the world? Did they go to the United Nations and get, and somehow, for the first time in human history, Get all the nations to agree to one thing, which was that we're gonna send these four people who aren't trained in any form of diplomacy to go there in an active war and negotiate peace. That is wild to me that that would be authorized by anybody.Edward: Well, I'm pretty sure the UN did not authorize it, but if we waited for the UN to authorize things, nothing would get done and we'd still be at war with the scrolls. And so sometimes the US has to take things into their own hands and just take action. And we did take action and it worked out.Michael: Okay, this time, okay, let's say what would happen to it if it didn't work out. Like it's like we send the Americans send these envoys being the Fantastic four who have no training in this type of activity of negotiating peace. Send 'em over and it backfires. And at least the, to this girls actually, redoubling their efforts to take over the earth. Well, and it's not just Americans pay the price of the entire, it'd be the entire Earth.Edward: Are we at, would we be at any worse place than we were?Michael: Yes,Edward: the scrolls were already ready to, these girls have already attempted at least two or three invasions that we know of. They're, they're coming after us. They're trying to take over our planet, and now they're.Michael: So I'm wondering yet if they're trying to invade us because Reed Richards ghost to their planet and kidnap their citizens . You know what I mean?Edward: Like this is the, this is the first time he's gone there. They, unprovoked, they came after us and they came after us again and again trying to take over our planet and now we've turned the tables on them. This is like Japan has attacked us in World War ii. And we turned the table and said, no, no, no, you can't take our Hawaii. We're gonna come after you and go to your islands. And that's what we did. And we did it well enough. And, and not only did we do it well enough, we did it with a small little Strikeforce team. We didn't have to blow up a scroll planet or even a scroll city. He went in and spoke with the emperor himself, herself, emperor somebody. He, negotiated with somebody over there and they've agreed to not attack us. .Michael: But Ed, if you bring in like the, world War II and America fighting Japan. Japan attacked America and America responded by. That was an act of war, which led to America actually fighting Japan, which is, yeah, I don't wanna sound too Pollyanna, but limited between those two countries. At least at the start of it, right before the countries actually can volun, can actually declare war on the other nation here effectively. The United States declared war on the scrolls and thereEdward: no declared war on the planet Earth and they and America stepped up and got them to say, No,Michael: no, but America has to go, has to go through the proper channels. They can't just decide something so significant about going to war with another nation without actually getting the rest of the world on board with it.Edward: Well, they're not, but they're not going to war with the other nation. The other. The nation declared war, not the nation, the emperor, the empire, the squirrel empire declared war. On earth, on all the countries on earth. Cause they don't care to them. We're all the same. We're all, we're all people, we're all humans. And so the US says Hey, no one else is taking care of this. No one else has the technology to take care of this. But this fantastic four working with nasa, developed the technology to go after the scroll home world. And they went straight there and they negotiated a piece so that the scrolls, wouldn. Anyone on Earth again, it wasn't like they negotiated a piece just with America. They could have done that, but why would that, that would be a terrible thing for them to do. They said, Hey scrolls, go ahead and invade our planet as long as you leave this continent alone.Michael: How would you have felt if Russia, which does have Superpowered individuals and does have, technology, what, how would you feel that they went to the scroll world and tried to do what the Fantastic four did and it back.Edward: Well be a, be a problem if we backfired. But it didn't back. If it didn't backfire. If the Russians went over there and negotiated the scrolls, I'd be like, given like a little swastika, high five, no, well, not swastika. What do they have? Would I be doing that hammered hammer sickle? I'd give a little sickle high five. There are enemies, but they, but they helped us. They would, and that's great. Sometimes the Russians and the Americans need to get together. Were on the same side to stop the squirrels from.Michael: But Ed, but so right now on our earth, we actually have international organizations that are designed to work cooperatively to actually achieve the goals of the group, right? We have the United Nations, which is the entire earth. We have nato, which actually is set up to to deal with the Warsaw Pack group of countries. And so there, it's not like one NATO country could decide to attack Russia without having. , quite frankly, the rest of the nations in NATO objecting to it. There's a system in place and I think the same thing should happen here when it comes to dealing with intergalactic relations.Edward: Well, maybe there was May.Michael: I don't understand why there isn't.Edward: May, maybe there maybe NASA and Fantasic Four talked to the rest of nato. I don't know. We don't know exactly what the channels they went through. I'm pretty sure they did not ch check in with the Soviets before they did it. But I think that's just the world we live in. We live in a in the, in reality, we don't wanna be sharing our subspace travel technology with the Russians for as long as we can anyway.Michael: But right now, the first question is there a clear and present danger presented by the scrolls to the planet Earth? And you're saying, well, because they've invaded before and they've been repelled. The answer is yes. Okay, fine. Assuming that's correct, then, is it that every country for itself can deal, can figure out how to deal with it and then how do they and I think the answer has to be no, it has to be that there's no,Edward: you're right, you're right.Michael: You're in a democratic, the democratic nations that are involved in military alliances that they wouldn't actually consult with us to figure out what the right plan is. I dealt the right plan. If I was in, involved in it would be, we're gonna send these, just these four people. If you're really truly deciding to invade this grow planet. You probably had a lot more than four people, butEdward: Well, they were trying to invade though, they were trying to create peace. They were, they were creating peace. They're not, they weren't, you're not gonna invade a planet with four people, but maybe traveling through subspace in these spaceships. We probably don't have the technology to send battalions. We don't have the technology to send warships and stuff with us. We have this technology to send four people, and so we sent the four people that we thought could handle it, and they did.Michael: Well, they didn't consult me and you and I aren't doing interview this. I'm offended on behalf of the rest of the earth, number one. But number two, I would say this, if they consulted with the Avengers, they could have had access to giant man's technology, shrunk them, everybody down, shrunk down, all like the ships and the planes and all the soldiers and stuff, and then gone there instead of letting Reed Richards go off in some kind of, Cowboy Justice Mission to, to grab the scroll that had killed Sue storm's, father, and then incidentally negotiate peace, which is I think, which is what I think happened. I'd rather have had an authorized military action by the world, or at least the majority of the world, it's something that, at at least smacks of democracy or democratic approach to these things because there's the consequences will be felt not just by America, but by the entire world. And then actually start thinking about using the technology that we know exists in a proper military application in a military way.Edward: I lo I love the idea of giant man shrinking down the US military into ants and sending the whole whole army over there. And hopefully growing them when they get to the other side. Otherwise, Having a bunch of ants fighting that this girls made have been a problem. But, I think it be hard, but the risk with that now is now you're risking a real war. Right? If we go and actually invade their planet with thousands and thousands or hundreds of thousands of soldiers, that risks escalating the war, and instead of escalating, we sent four people who they went in, they had a polite conversation with the emperor explained the miscommunication, explained that we were a people's too, and that we shouldn't be invaded. And if they did invade, we would hit back hard. And they were able to prevent intergalactic war.Michael: But that's my discomfort. They sent the fantastic floor who clearly had a bone to pick with the scrolls and were looking for a tray. They were trying to get them the person or the, the scroll that had killed, one of their fathers. I don't think that's how typical diplomacy works. It's not like we send over emissaries to like Russia. We don't send like the son or daughter of somebody who's killed by a bunch of Russian spies or soldiers. They might have a bit of too much skin in the game for that. They might not be objective when they're negotiating the peace treaty, I think would, I'd rather send somebody over that ha could be a little more objective and uh, and.Edward: Yeah, fair enough. Can negotiate properly. Sometimes you go to war with the army. You have not the army that you dream of, right? Like we had the Fantastic four who were able to go and do this. They had the technology to get over there. They had the diplomatic skills to do it. And did they have some conflicts of interest? Sure. . But, but, but, but they, they, they worked around those conflicts of interest and they saw, they saved the day. They saved the planet. They saved potentially the galaxy. They may have saved the universe, and I think we should give them some credit.Michael: Well. . Okay. Tell you what, let's just, at the risk of making this ad hominem, you sound like a typical business person saying, sure, there's some conflict of interest. is, did we, did we break the law? Did we do something that was totally in our own self-interest? Guilty is charged, and I'm saying as a lawyer, it's a conflict of interest. Hold on a second. That poisons the whole, in that the whole analytical approach, these things. So again, I work for businesses, I work for business people. I think they're all great. I don't wanna hurt my. Business structure, but come on, Eddie . This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.superserious616.com

On this special Valentine's themed episode, Anelle Dehghani joins the show to talk about her role as the coordinator of international sales, marketing, and acquisitions at Raven Banner.   In our conversation, Anelle and I delve into the numerous films in the Raven Banner catalog, including "The Sadness," "Cult Hero," "The Fight Machine," "Psycho Goreman," and many more. Anelle also sheds light on the process the company follows to choose the films it represents, and how each project brings its own unique set of challenges.   We delve into the success of the Toronto-based company, exploring its origin story and why it is so passionate about producing and acquiring strange and unique movies from all over the world.   Show Notes:  Anelle Social media - @AnelleD instagram and Twitter  Raven Banner - @Ravenbannerent Instagram and @Ravenbanner Twitter    Mentioned on the show: Upcoming Films -  Mad Heidi Trailer  The Fight Machine Trailer    Past Films -  The Sadness Trailer  Psycho Goreman Trailer  Come True Trailer  Turbo Kid Trailer  Manborg Trailer  The Autopsy of Jane Doe   Like the thrill of horror? You can find more horror at the Westcoast Strange website at westcoaststrange.com  This podcast is presented by Halo Halo Productions. You can find other shows at halohaloproductions.com.

Anelle Ammons is an ISA Certified Arborist® and ISA Certified Arborist Utility Specialist®. She has a Bachelor of Science degree in biology from the University of North Carolina at Asheville and a Master of Horticulture Science from North Carolina State University. Anelle works as a contract Utility Arborist and spends her free time gardening, hiking, and writing children's adventure books. --- Support this podcast: https://anchor.fm/plantatrilliontrees/support

Entrevista con Grace Díaz sobre su reelección como representante estatal de RI distrito en Providence distrito 11 Grace Diaz participa en la serie de entrevistas El Candidato Responde en Poder 102.1 FM. Esta entrevista fue realizada el 5 de Abril, 2022 antes del fallecimiento de su madre.Grace Díaz aspira a ser reelecta como Representante Estatal de Rhode Island en Providence distrito 11.Para mas información sobre Grace Díaz seleccione el link de su campaña:https://www.repgracediaz.com/meetgrace ¿Quién es Grace Díaz?Liderazgo que produce resultados para nuestra comunidad Grace Diaz (D) ha representado a los residents del Distrito 11 en Providence desde que fue elegida por primera vez en noviembre de 2004. Fue nombrada Presidenta del Caucus Demócrata en enero de 2015, lo que la convierte en miembro del Equipo de Liderazgo de la Cámara. Es miembro tanto del Comité de Finanzas como del Comité de Reglas de la Cámara. Ella es la presidenta de la Comisión Legislativa sobre Cuidado Infantil en Rhode Island. En 2016, la representante Díaz presentó una legislación con el objetivo de reducir las disparidades raciales durante el proceso disciplinario escolar. La nueva ley ordena a todos los superintendentes escolares que revisen los datos disciplinarios de sus distritos escolares para decidir si hay un impacto desigual en los estudiantes en función de la raza, el origen étnico o el estado de discapacidad, y para responder a cualquier disparidad. Siempre ha sido defensora de los niños, la representante Díaz patrocinó una legislación en 2015 que crea una cláusula no discriminatoria en la declaración de derechos de los niños para todos los niños bajo el cuidado de DCYF. La ley impide cualquier discriminación contra los niños por motivos de raza, color, religión, ascendencia, género u otros factores. Aumentar el acceso a la educación de adultos es otra de las muchas prioridades de la diputado Díaz. En 2014, presentó una legislación exitosa que requiere que la Junta de Educación del estado considere varios factores, incluido el costo, para determinar qué las pruebas de equivalencia de escuela secundaria GDE serán gratis y reconocidas por el estado. Los logros legislativos anteriores también incluyen una ley que evita que los niños reciban suspensiones fuera de la escuela por problemas de asistencia para evitar que los estudiantes esten solos en las casas durante el tiempo que son suspendidos. Tambien creo una legislación destinada a crear conciencia sobre el lupus, una enfermedad crónica que hace que el sistema inmune ataque los tejidos corporales normales. Durante varios años, cada 14 de noviembre, la representante Díaz ha sido la anfitrión de la celebración del Día Mundial de la Diabetes en la Casa del Estado en Rhode Island para atraer mas atención sobre cómo tomar el control de la enfermedad.​La representante Díaz tiene una licenciatura y una maestría de Springfield College, que obtuvo en 2008 y 2010. Originaria de la República Dominicana, se graduó de Los Ángeles Custodios High School en 1977.​La Representante Diaz es la Director de la oficina de MBE/WBE que ofrece Oportunidades de contratos en la Ciudad de Providence a companias minoritarias. La representante Díaz también es miembro de la Asociación Nacional de Funcionarios Latinos Electos (NALEO), Mujeres en el Gobierno, Legisladores Estatales Nacionales Hispanos y tambiel del Caucus Negro y Latino de Rhode Island. La representante Díaz tiene cinco hijos: María, Gisselle, Ruben, Felix y Cristian, y seis nietos: Nehemiah, Kariana, Xavier, Anelle, Zoe y Amahia Gracemarie.  

The show begins with Mark, Jana and an in studio guest (Anelle) snacking on melons prepared two ways. Once the refreshing snacks are tasted, two more guests join the show by way of the internets. The entire show is then focused on a recent excursion to the town of Landers. There is a mysterious dome shaped structure that has had many UFO enthusiasts touting it's alleged miraculous ability to turn back the hands of time and restore youth. Also, to allow time travel. It's also got a pretty good soundbath bowl player.

Micael intervjuas av Anelle och Alma från Hope Morron om hur han blev fri från dödsångest efter att Jesus visade sig för honom i en rad syner och om mirakler som han både upplevt själv och som han har fått dokumentera i böcker. Micael berättar även om hur Jesus varit hans förebild och styrka i engagemanget för miljö, flyktingvänlighet och fredsskapande ickevåld även när världens vindar blåser i motsatt riktning. Lyssna på fler avsnitt från Hope Morron här: https://podcasts.apple.com/se/podcast/hope-morron/id1554428610  Läs mer om dokumenterade mirakler på http://dokumenterademirakler.se/  Har du frågor, kommentarer eller tips på vad vi ska podda om? Maila oss på jesusfolket@gmail.com Boka en föreläsning: https://helapingsten.com/boka/  Gilla Jesusfolket på Facebook! facebook.com/jesusfolket Följ oss på YouTube! youtube.com/helapingsten Och följ bloggen Hela Pingsten! helapingsten.com

I'm Josh Cooperman and this is Convo By Design with designer, Anelle Gandelman. Former student of The New School of Interior Design with a degree in Fine Art from Parsons School of Design and a certificate in American art & antiques from Sotheby's. I bet you know where we're going with this one. Yep, art and design. We talk about it quite a bit. I think it's important to cover this subject for a number of reason. In my experience, designer tend to shy away form fine art, antiques and the perceived high expense of such endeavors in design. Why? Because of cost, overall percentage of the design budget, lack of quality control, delivery issues, but the main reason? I suspect it is due to a lack of comfort with the idea that there is rarity to this and an inability to circle back and return the product if it doesn't fit perfectly. But think about it this way, art and antiques can be woven into a design concept in so many way that it can raise the level of design exponentially. You can use art as a feature, accessory, complimentary item, balance to low in the high-low scenario. You can use antiques to balance a modern or contemporary feel but most importantly to me anyway is that a skilled designer can use art and antiques to further craft the story behind the design itself making it a unique story exclusive to their clients. That is what many if not most clients are looking for now. So, we are going to get into this with a deep dive into the world of design, art and antiques with designer and founder of the Manhattan firm, A List Interiors, Anelle Gandelman. Thank you, Anelle. I truly appreciate the time! Thank you Thank you ThermaSol, Article, York Wallcoverings and Franz Viegener for your partnership. You are remarkable partners and amazing allies for the trade. And, thank you for listening, remember why you do what you do and that the business of design is about making better the lives of those we serve. Until next week. Be well and take today first.

In this episode I talked to Anelle Valdes about mental health and work loneliness. Anelle has a master's degree in Marketing and she adapted a marketing model, AIDA, to address work loneliness.

We’re back in the 80s this week to take a closer look at 1987’s The Secret of My Success starring Michael J. Fox! Erika and Paul reminisce about overhead projectors, marvel over the unnecessary showing of modesty garments and, of course, discuss the appropriateness of love affairs with non-blood relatives. -Paul never misses a chance to bring up Steel Magnolias (and how Anelle should drink bleach). -Erika thinks The Apartment is a better sex farce.

Henley and Anelle must turn to an unlikely person for help if they are to defeat the obsessive Babbage. In order to find him, they must travel to a dangerous area hidden deep in the woods of North Carolina. --- If you'd like to support the show, be sure to share the episode with your friends and follow us on social media at: Twitter.com/MicAndMen Facebook.com/OfMicAndMen Instagram@OfMicAndMenPodcast. --- Music by Brian Lindner and Daniel Marion. Skeleton Keys by Alexander Nakarada Link: https://filmmusic.io/song/6258-skeleton-keys License: http://creativecommons.org/licenses/by/4.0/ --- Send in a voice message: https://anchor.fm/ofmicandmen/message

Henley and Anelle find themselves at the mercy of a mysterious man named Babbage. As he unravels his plot to them, Henley and Anelle learn about one of America's most haunted taverns and the dark history of some of the country's first serial killers. --- If you'd like to support the show, be sure to share the episode with your friends and follow us on social media at: Twitter.com/MicAndMen Facebook.com/OfMicAndMen Instagram@OfMicAndMenPodcast. --- Music by Brian Lindner and Daniel Marion. --- Send in a voice message: https://anchor.fm/ofmicandmen/message

https://soundcloud.com/a_anelle https://soundcloud.com/desoner • t.me/rtsfm or t-do.ru/rtsfm • rts.fm • facebook.com/rtsfm • instagram.com/rts.fm • vk.com/rtsfm • youtube.com/user/rtsfmmoscow RTS.FM is the first international internet radio project with LIVE audio-visual broadcasting from 30+ studios around the world!

Episode 12: Kree-Skrull War pt3: All’s Fair in Kree and Skrull Today we’ll be covering Avengers 95-97, the conclusion to the Kree-Skrull War Dramatis Personae: PROTAGONISTS Anelle Captain Marvel - Mar-Vell Carol Danvers Rick Jones Avengers: Captain America - Steve Rogers Goliath - Clint Barton Iron Man - Tony Stark Jarvis Quicksilver - Pietro Maximoff Scarlet Witch - Wanda Maximoff Thor - Thor Odinson Vision Wasp - Janet Van Dyne Yellowjacket/Ant-Man - Hank Pym S.H.I.E.L.D.: Dum Dum Dugan Nick Fury Rick’s Simpler Heroes: Captain America - Steve Rogers Human Torch - Jim Hammond Namor the Sub-Mariner Blazing Skull - Mark Todd The Vision - Aarkus Fin - Peter Noble Angel - Thomas Halloway Patriot - Jeffrey Mace Inhumans: Black Bolt Triton Kree Empire: Supreme Intelligence ANTAGONISTS H. Warren Craddock Mandroids Skrull Empire: Emperor Dorrek VII Super-Skrull - Kl’rt Kree Empire: Ronan the Accuser Sentry 459 Inhumans: Maximus the Mad Preface: We’ve been covering this story in three parts, this is part two If you’re new, we recommend starting with the prior episode Empyre is coming up and all of that drama starts with the Kree-Skrull War Avengers 95: “Something Inhuman This Way Comes” Best opening splash page in a long time, Triton looks EXCELLENT Unfortunately, he gets chased by a mob Triton arrives at Avengers Mansion as they are fighting the Mandroids Vision has conflicting emotions Flashback of Blackagar and Maximus parents being accidentally killed because MAXIMUS IS EVIL and this, somehow, is how we ended up with Mad Max Vision’s group rejoins the rest of the Avengers to rescue Black Bolt Black Bolt regains the crown Rick Jones is abducted by the Kree Avengers 96: “The Andromeda Swarm” The Avengers, fully reunited, land at a S.H.I.E.L.D. Space Base where Nick Fury gives them a ship to intercept the Skrull Armada Tony tries to gossip about Vision and Wanda but nobody has time for that The Avengers use a trick where their ship visually looks like a whole armada but it ends up only showing as a single ship on radar, so a single Skrull ship investigates Iron Man thirst poses aggressively at the Skrull Thor, Vision, and Iron Man take on the lone ship Meanwhile, Captain Marvel has agreed to work on the Omni-Wave Projector for the King Dorrek VII in order to save Quicksilver and Scarlet Witch Mar is tricksy and instead made a holographic projector, and ambushes the guards. Dorrek panics and orders “Execute Plan Delta” Vision has a TNG: Data moment and nearly beats a guard to death, but Iron Man and Thor pull him off Leather Daddy Clint is the sole Avenger left in a fightercraft so he boards the ship, but runs out of ideas Ronan villain monologues to Rick Jones but Rick is teleported to the Supreme Intelligence Supreme Intelligence explains that it’s been behind everything the whole time… Supreme Intelligence then shunts Rick back to the Negative Zone Avengers 97: “Godhood’s End!” Rick ponders life in the Negative Zone, visually excellent Annihilus attacks Quicksilver and Scarlet Witch buy Captain Marvel time to use the Omni-Wave Anelle tries to convince Dorrek to chill, but he’s never been chill about anything Mar destroys the Omni-Wave Rick escapes the Negative Zone through a portal, the Supreme Intelligence informs that it’s now time for Rick to glow up Ronan, Public Accuser tries to murder Rick and the Supreme Intelligence but Rick summons a ton of old Marvel heroes to fight for him Rick then deus ex machina’s all Kree and Skrull by freezing them all in place G.W. Craddock was a skrull all along and when that is revealed the crowd vents their rage, tearing him limb from limb Supreme Intelligence tells Rick that Rick isn’t important, any ol’ human would have done Captain Marvel thinks about Anelle. This brief moment is the entire basis for Empyre… one sentence… that’s it Supreme Intelligence teleports everyone home, real Craddock clears the Avengers of all charges and… that’s it Creators of these issues: Roy Thomas, Neal Adams, John Buscema, Tom Palmer, Sam Rosen, Alan Weiss, Gil Kane, Bill Everett, Stan Lee Find us on Twitter @ArtifactsOfI and ArtifactsOfInfinity.com

▶Support the Podcast: paypal.me/followyourpathpodcst ▶Intuitive Guidance & Self Alignment Journey (spots now open!) www.innerworlddesign.com ▶Follow Us on Instagram: www.instagram.com/followyourpathpodcast/ For EP 45 I drop in with the wise and powerful Drew Matthews. There was a wonderful flowing energy in this conversation I know anyone listening will feel that as well. Drew and his wife Anelle host amazing retreats in Mexico where you feel like your part of the family. With a full range of experiences from sweat lodges, plant medicines, sound healing, and delicious-organic- locally sourced-high vibe vegetarian dishes...you leave these retreats with your soul and body nourished. Drew is a man of the heart and he speaks from that place and lives deeply in his purpose to serve others. He has overcome some incredible challenges and it's been a massive inspiration to me to see what he's created over the years. SHOW NOTES -Moving out of victim mentality into responsibility and power -The wisdom and guidance of the earth and the plants healing us during this incredible time -Being a warrior of the heart -creating the future timelines we desire -The Hop Prophecy and the power of the indigenous knowledge -The impact of living life as a ceremony in each moment I can't recommend these retreats he and his wife hold at their space in Mexico (an hour from San Diego!) To learn more check out their website: casaayniretreats.com Connect with Drew

Anelle comes from a strong background in both art and design. She is an alumna of DwellStudio, a New York-based home furnishings company, where she served as Head of Design before leaving to start her own design firm and contemporary Art Gallery in 2007. Anelle studied Interior Design at the New York School of Interior Design and holds a Certificate in American Art and antiques from Sotheby’s Institute of Art. She earned her Bachelor of Fine Arts degree from Parsons School of Design. Originally from South Africa, Anelle currently lives in Westchester with her husband and two boys. @alistinteriors www.alistinteriors.com

My recording sounds like it's in a tincan and we couldn't get it fixed in time to release. Sorry about that. -JonathanEpisode 11: Skrulled into a False Sense Today we’ll be covering Avengers 92-94, the confrontation of the Kree-Skrull WarDramatis Personae: PROTAGONISTS Anelle Captain Marvel - Mar-Vell Carol Danvers Rick Jones Avengers Captain America - Steve Rogers Goliath - Clint Barton Iron Man - Tony Stark Jarvis Quicksilver - Pietro Maximoff Scarlet Witch - Wanda Maximoff Thor - Thor Odinson Vision Wasp - Janet Van Dyne Yellowjacket/Ant-Man - Hank Pym S.H.I.E.L.D. Dum Dum Dugan Nick Fury Rick’s Simpler Heroes Captain America - Steve Rogers Human Torch - Jim Hammond) Namor the Sub-Mariner Cat-Man (from Holyoke Comics) The Heap (from Hillman Comics) The Green Lama (from Prize Comics) Fighting Yank (Bruce Carter III) (from Nedor Comics) Fantoman (from Centaur Comics) Fantastic Four Mr. Fantastic - Reed Richards The Thing - Ben Grimm Inhumans Triton ANTAGONISTS H. Warren Craddock Mandroids Skrull Empire Emperor Dorrek VII Super-Skrull - Kl’rt Skrull Posing as a Cow & Human Torch Skrull Posing as a Cow & Mr. Fantastic Skrull Posing as a Cow & The Thing Kree Empire Ronan the Accuser Sentry 459 Preface: We’ve been covering this story in three parts, this is part two If you’re new, we recommend starting with the prior episode Empyre is coming up and all of that drama starts with the Kree-Skrull War Avengers 92: “All Things Must End!” Wanda flirts with Vision by dressing like him Normal life at Avengers Mansion is interrupted when Jarvis bursts into the room. He announces that someone leaked the Kree plot to turn back Earth’s evolution (see last episode) Quicksilver and Scarlet Witch are definitely Mutants Goliath and his fabulous outfit come in and they are a whole lot. He thought everyone had agreed to keep those events a secret. The Avengers turn on the TV and see that H. Warren Craddock has been appointed head of the Alien Activities Commission, a comic counterpart to Joseph McCarthy’s House Committee on Internal Security. Also, with modern history for context it’s even more uncomfortable Mar-Vell and Rick Jones walk in and Mar offers to give himself over to the authorities. No one agrees except CLINT FREAKING BARTON… freaking guy… Vision, however, is having none of it and rightly points out how wrongly detaining anyone injured everyone A helicopter flies in piloted by Carol Danvers, as she crashes first Captain Marvel then Vision breaks her fall. Basically this scene is a mess. Captain Marvel’s powers are wildly inconsistent. A lot is happening and none of it really works Carol is saved but Wanda is concerned about her boy-toy Vis. Vision, however, as after pausing for dramatic timing, he re-emerges unscathed. SHIELD planes buzz Avengers Mansion searching for Mar-Vell. Carol and Mar slip out and head to Upstate NY to hide out. Mar is concerned that running will only confirm his guilt but Vision points out that he’s already been found guilty in the court of public opinion SHIELD tries to pursue but the Quinjet is too fast. Craddock yells at Fury for letting them escape in a prescient call-out of President Bush Sr. after his appointment to UN Ambassador in 1971 Fury chastises Craddock in the most important exchange in this issue Rick Jones has feelings about the complication of modern heroes. I find this really interesting having been through the 90’s emergence of Image comics and how the lack of this greyness was a large argument for the creation of Image. Clint sees a fight break out outside the mansion and heads out to break it up but it was staged to be able to serve a court summons. The Avengers head to court where Craddock is the worst… The testimony of Craddock’s witnesses is… slanted… to say the least. Reed Richards gives some good advise but BEN FREAKING GRIMM slags the Avengers hard Vision tries to testify but Craddock dismisses him out of hand for just being a robot… what a jerk Rick Jones gets a telepathic whammy from Mar-Vell, he’s under attack and Rick races off to help When they arrive at Avengers Mansion they find Jarvis distraught and the mansion trashed Captain America, Iron Man, and Thor show up and declare the current Avengers unfit, and disband them. Avengers 93: “This Beachhead Earth” Vision staggers into the Mansion and collapses, begging for help before shutting off Ant-Man shows up and explains that Vision isn’t dead, just needing some help There is a great bit where Ant-Man faces off against Vision’s immune system, Adams is an artistic LEGEND for a reason! As Vision wakes up he chastises the founders for breaking up the team but they have no memory of doing that. A mystery is afoot Team Drama because Vision/Wanda/Pietro each being too dramatic Remember the cows from Episode 1? The Skrull Cows we swore would never show up again? THEY SHOW UP AGAIN! WE ARE LIARS YA’LL! Skrull-McDoubles pose as the F4 and attack Captain Marvel and Carol Danvers have been captured by some Skrull Mar tries to escape. He recognizes that even though he’s been banished he’s still got to report whats going on with the Skrull on Earth. Our heros demolish the Cow-Skrull like some Double Doubles and then fail to stop the Skrull ship from escaping as it flees the farmhouse. Avengers 94: “More than Inhuman!” Super-Skrull nukes the Inhuman’s home but a forcefield protects it. He’s ticked Kl’rt decides to trade Mar-Vell for an end to his banishment Emperor Dorrek is afraid that Kl’rt is trying to usurp the throne… Anelle continues to be our favorite Emperor Dork tortures Scarlet Witch and Quicksilver to get Captain Marvel to fold which works, he’ll help build the Skrull a powerful weapon with Kree tech H. Warren Craddock is also the worst He unveils the Mandroids, basically people piloting armor suits to fight the Avengers. Iron Man uses his superior Roller-Derby tactics to demolish the Mandroids though, fear not. As all of this is going on, Triton climbs out of a manhole seeking help! Creators of these issues: Roy Thomas, Sal Buscema, John Buscema, John Romita Sr. Neal Adams, George Roussos, Tom Palmer, Sam Rosen, and Stan LeeFind us on Twitter @ArtifactsOfI and ArtifactsOfInfinity.com

Anelle Miller, Director of the Society of Illustrators and the Museum of American Illustration in New York City, understands a successful career requires more than just talent. After all, it’s not what gifts you have, it’s what you do with them. Early on Anelle learned what to do, what not to do, and how best […] The post For Anelle Miller of Society of Illustrators, Confidence is Key. appeared first on Art Business Journal.

Anelle Miller, Director of the Society of Illustrators and the Museum of American Illustration in New York City, understands a successful career requires more than just talent. After all, it’s not what gifts you have, it’s what you do with them. Early on Anelle learned what to do, what not to do, and how best […] The post For Anelle Miller of Society of Illustrators, Confidence is Key. appeared first on Art Business Journal.

Episode 9: Never a Skrull Moment! Today we’ll be covering Fantastic Four 37, Thor 142, and the backup story of Thor 146 & 147Preface: We’re prepping for Kree/Skrull War This is a grab-bag episode Fantastic Four, Super-Skrull, Thor, Kree Sentry Fantastic Four 37: Behold! A Distant Star! Ben and Johnny get blasted by Reed’s Power-Ray while prepping for Reed and Sue’s wedding Alicia tells Reed that Sue is distraught over the death of her father in issue 32/Episode 1 Reed decides that they need to go seek vengeance for Franklin Storm’s death On the Skrull Capital World, Princess Anelle and Warlord Morrat talk. Annelle is upset at how terrible Morrat is but she thirsty Reed convinces NASA to let the FF borrow a rocket, which is way better than Grand Theft Saturn They use the Power-Ray to punch a hole into subspace and arrive at the Skrull homeworld. The FF are immediately beset upon by Skrull soldiers, and their powers are out of control! Morrat captures the FF, Anelle tells him that he must inform her father, the Emperor. Morrat says he will but shifty dudes gonna shift. Anelle mentions to her father about Morrat capturing the FF and Emperor Dorrek suspects treason. Reed zaps Ben, Johnny, and Sue with the Power-Ray before Morrat can stop him, then Reed gets blasted with it, but now it’s revealed that the FF have all their powers back. Reed is quite heroic and smart in this scene The Emperor arrives with the Royal Guard and executes Morrat but Anelle is caught in the crossfire. She’s saved by Sue. The Emperor is grateful that his daughter is safe so he grants the FF a boon, they ask for Skrull responsible for Franklin Richards death and the Emperor is delighted because that was Morrat’s fault and Morrat is already dead. Thor 142: The Scourge of the Super-Skrull Loki is banished to another space-time continuum and decides to seek vengeance on Thor by tricking the Super-Skrull to attack him Kl’rt rushes to Earth and initiates a brawl with Thor Sif is awesome and doesn’t get enough respect, but she’s a LEGIT BOSS Super-Skrull threatens to go full on nova level so Thor hits him with some hurricain level rain and wind to knock him down a peg, see the visual companion for this rad image! It’s Hammer Time and Thor pummles Kl’rt before using Mjolnir to generate an Anti-Force to banish Super-Skrull from Earth Loki is extremely salty and it’s great Thor 146 Backup: The Origin of the Incomparable Inhumans This is a longer story but we’re only covering the first two bits In prehistoric times some humans developed faster than others and formed an advanced civilization. They called it Attilan, the hidden city Randac, the King of Attilan discovers the Terrigen Mists and through the process of Terrigenesis develops superpowers Thor 147 Backup: The Reason Why A Kree Sentry remarks that it’s time for the Second Phase as it’s heading to Attilan and being pelted by some of the primitive humans Sentry reflects that it’s been tasked to guard a Kree Base, even if it takes 1,000 years He finds Attilan and is glad that the Kree experiment of speeding the development of a group of humans was successful The Attilanians hope the Sentry comes in peace so they can learn from him. King Randac emerges from the Terrigen mist unharmed but with powers Turns out, the Sentry is none-other than Sentry 459! Randac blasts Sentry 459 with an energy blast from his hands and it has 0 effect on Sentry 459 Sentry 459 dubs these people Inhumans Randac establishes that every Inhuman citizen of Attilan will undergo Terrigenesis and that Attilan shall remain hidden If you want to read the issues we covered today you can find them collected in: Essential Fantastic Four Vol. 2 Marvel Masterworks Fantastic Four vol 4 Fantastic Four Epic Collections vol. 3 Fantastic Four Omnibus vol. 2 Essential Thor Vol. 3 Marvel Masterworks Thor Mighty Thor Vol 6 Thor Epic Collections Vol 3 The Mighty Thor Omnibus vol.2 as well as digitally on Comixology As for Backups, however, they aren’t on Comixology in the Thor Volumes but are collectible in: Marvel Masterworks The Inhumans Vol 1 Marvel Unlimited Ask your local library. Creators of these issues: Stan Lee, Jack Kirby, Chic Stone, Stan Goldberg, Artie Simek, Sam Rosen, Vince Colleta, and Joe SinnottFind us on Twitter @ArtifactsOfI and ArtifactsOfInfinity.com

Episode 5: Mar-Velous Today we’ll be covering Captain Marvel vol 1 issues 1, 2, and 3Preface: Discussion about how the Captain Marvel solo title got it’s start Legal history about Captain Marvel (Fawcett/DC/Marvel)Captain Marvel 1: Out of the Holocaust.. A Hero! Captain Marvel battles the Kree Sentry, luring it away from the Cape’s nuclear arsenal The Sentry’s self-repairing is too much for Mar Yon-Rogg is horrible to Una, boasting of Mar-Vell’s coming demise Hotel clerk Jeremy Logan snoops on Mar, discovering his Carry-All Cylinder Carol Danvers gets trapped in the Kree Cone of Shame Carol may get damseled by Una won’t take a damseling passively! Mar defeats the Sentry by puncturing its hull and hitting inside with a magnetic charge Yon-Rogg is salty but gets chastised by Ronan the Accuser for jeopardizing the mission Captain Marvel 2: The Space Man and the Super Skrull! Old King Skrull sees the Kree taking interest in Earth, thus he is now interested in Earth Old King Skrull summons Kl’rt (The Super Skrull) to figure out what the Kree want Super Skrull has the hots for Anelle, Old King Skrulls daughter Mar-Vell discovers that his Carry-All Cylinder is missing and it’s got a nuclear booby-trap Hotel clerk Jeremy Logan heads to the base with the Carry-All and is intercepted by Super Skrull, who knocks him out Captain Marvel and Super Skrull fight, Mar gets knocked out Captain Marvel 3: From the Ashes of Defeat Captain Marvel gets probed by Super Skrull (with the Psycho-Probe Mar escapes to the Kree ship after Kl’rt sees his memories Yon-rogg… still the worst, tries to let Mar die of neglect in space Mar-Vell convinces the Imperial Minister to allow him to return to Earth to diffuse the Carry-All Cylinder Kl-rt uses the information he’s gleaned to pose as Captain Marvels alter-ego Dr. Lawson but he isn’t fooling Carol Danvers Captain Marvel and Super Skrull fight again and Super Skrull is defeated… by self hypnosis… Mar-Vell diffuses the nuclear bomb Jeremy Logan is now in a coma If you want to read the issues we covered today you can find them collected in: Essential Captain Marvel Vol 1 Marvel Masterworks: Captain Marvel Vol 1 Digitally on Comixology and Marvel Unlimited Ask your local library. If you would like to know more about Captain Marvel: Untold Legend of Captain Marvel Mar-Vell and Skrulls: Young Avengers 9-12 Super Skrull: Annihilation: Super-Skrull Creators of these issues: Roy Thomas, Gene Colan, Vince Colletta, Artie Simek, Irving Forbush, Sam Rosen, and Stan LeeFind us on Twitter @ArtifactsOfI and ArtifactsOfInfinity.com

Favourite podcasts from the Laws of Life with Garry Hertzberg. What would you do if your neighbour's crowing roosters and other fowl kept you awake? In studio are Anelle and Roger Hills, who took their neighbours to court. www.cliffcentral.com

CliffCentral.com — Favourite podcasts from the Laws of Life with Garry Hertzberg. What would you do if your neighbour’s crowing roosters and other fowl kept you awake? In studio are Anelle and Roger Hills, who took their neighbours to court.

Karim Tol b2b Anelle RTS.FM x Vzletnaya Bali 07.04.2019 by RTS.FM

On this episode of the Healthy Wealthy and Smart Podcast, Shannon Sepulveda guest hosts and interviews Shayla Swanson on her company, Sauce.  Sauce was founded by a former Canadian national team cross country skier as a way to support her ski racing. Sauce founder, Shayla Swanson, was frustrated with traditional winter headwear that she found to be too hot, too itchy & too ugly. An avid sewer, Shayla set out to create functional, stylish and comfortable products that met the needs of elite athletes and outdoor enthusiasts alike. In this episode, we discuss: -The story behind the beginnings of Sauce -How Sauce tailors and personalizes their products from Bozeman -What is in the future for Sauce -Shayla’s advice for female entrepreneurs -And so much more!   Resources: Shannon Sepulveda Website Shannon Sepulveda Facebook 20% off with code “hws19” on: Sauce Website Sauce Facebook Sauce Instagram   For more information on Sauce: Sauce was founded by Shayla Swanson, a former Canadian national team cross country skier as a way to support her ski racing. Sauce founder, Shayla Swanson, was frustrated with traditional winter headwear that she found to be too hot, too itchy & too ugly. An avid sewer, Shayla set out to create functional, stylish and comfortable products that met the needs of elite athletes and outdoor enthusiasts alike.   Sauce started as a hobby for Shayla while she was ski racing and working through her degree in Exercise Science from Montana State University. She began selling Swift Toques to teams and clubs who wanted a custom item for their group. The product line evolved from there, and soon saw the additions of the Swift Headband, Ventilator Headband, and the fleece-lined Chill Toque. After several exciting seasons of ski racing full-time and a near Olympic team miss in 2010, Shayla decided to jump into Sauce full time, putting 100% of her enthusiasm and effort into the entrepreneurial venture.   Commitment to pursuing one’s goals, a strong belief in one’s own potential, and using constructive evaluation for growth, are all important ingredients for a successful athletic career. While skiing and sewing hats are not the same, it turns out that those behaviors are also the key to making it as an entrepreneur. The lessons learned in Shayla’s ski career have helped her navigate the business world and grow Sauce into a company with distribution across North America and beyond.   For more information on Shannon: Shannon Sepulveda, DPT, M.Ed., CSCS, WCS is the owner and Physical Therapist at Shannon Sepulveda, DPT, PLLC. She is an Orthopedic and Women's Health Physical Therapist and is currently the only Board-Certified Women's Health Physical Therapist (WCS) in Montana. Shannon received her undergraduate degree from Dartmouth College, Masters in Education from Harvard University (M.Ed.) and Doctorate of Physical Therapy (DPT) from the University of Montana. She is also a Certified Strength and Conditioning Specialist (CSCS). She has been a practicing Physical Therapist in Bozeman, Montana for over 6 years. In her free time, she enjoys running, biking, skiing, hunting and spending time with her husband, son and daughter.   Read the full transcript below: Shannon Sepulveda:      00:00                Hello and welcome to the healthy wealthy and smart podcast. I am your guest host, Shannon Sepulveda and I am here with Shayla Swanson. Can you tell us a bit about who you are and what you do? Shayla Swanson:                                   My name is Shayla Swanson. As you said, I am the owner of a company called Sauce and we specialize in headwear and select apparel pieces for endurance athletes. My background is in Nordic ski racing. So I spent my teens and twenties training really hard to try to make the Olympics in cross country skiing. I didn't quite, but I got close and I got to do some really amazing things. The other thing is that I was always a sewing nerd and I love to sew and make clothing. So I began making headwear for my ski team and other ski teams. In the early two thousands, we found that most of the headwear we were given was really hot, too itchy, really ugly. Shayla Swanson:           01:02                And so we set out to kind of fix that situation and things moved from being kind of a hobby or an accidental business and to being a real business. So that was pretty exciting. Shannon Sepulveda:                              Take us from your competitive Nordic ski days to just like why you started the company, where it was, what you did, like the start of the company. Shayla Swanson:                                   The start of the company was really just me talking to a couple of teammates saying, hey, I have this idea, let's make some hats and try to sell them to stores and then we can make a little money to help support some of our ski racing. And I had at that point made maybe a couple of orders for local ski clubs and then realized I didn't like sewing that well. So I got some people to help me.  My tolerance was about two CD's worth of sewing. Shayla Swanson:           01:59                Like I would listen to two albums and then I was, I was done but that didn't get me very many in the grand scheme. So these teammates of mine said, yeah, we'll help. And we basically devoted a weekend to cutting and sewing and making hats to try to sell to some of the local stores and our connections in the ski world helped us. So they said, yeah, we'll put these in our store and put a little tag on them that says the proceeds benefit you guys. And so that was kind of your one. And then from there things changed and you know, some of my teammates weren't interested anymore and they didn't like sewing all that well either. And so we basically, from there it was kind of me and one of the teammates, my friend Rhonda, that continued on with the business. Shayla Swanson:           02:49                So Rhonda and I started turning things into a little bit more of an actual operation where we would create a catalog and send out to stores and actually try to sell at wholesale. We also had a custom program that we offered to teams and clubs and events. And amazingly enough, it kind of, it worked. So that was in 2000 probably, that was from like about 2003 until 2008 and all that time we were operating under the name SOS headwear and the name SOS came from a blog that I had and my blog was where I updated results and stuff that I was doing skiing and it stood for Shayla on Skis. So we were at SOS headwear, and then in I think it was 2009 that we decided to kind of rebrand and there was a nice little phonetic connection between SOS, which you know, is phonetically pronounce sauce and then the brand name sauce, which is the topping that you use to spice something up. Shayla Swanson:           03:54                And so we thought that are colorful, boldly patterned headwear that kind of worked. It still confuses people and I get email solicitations from India, but that's kind of where the name came from. 2009, we started operating under the brand name Sauce.  Rhonda and I were both still ski racing, trying to make the 2010 Olympics in Vancouver. Unfortunately neither of us were successful in that, although we both got really close and she knew at that point she wanted to go and work in a different field. So at that point she kind of left the business and I carried on and I started attending trade shows and actually trying to sell some product. So I would say the start of the official like 100% effort toward the business started in 2010. And it's been quite a rollercoaster ride of fun since then. Shannon Sepulveda:      04:50                That's awesome. So I should say to our listeners, for those of you who are not familiar with Sauce headwear, if you can picture a kind of like a workout hat and really, really fun prints, that's how I would probably describe Sauce Headwear I know this podcast is based in New York and we were in Bozeman, Montana. But whenever I wear my Sauce hats in Manhattan, I always get comments like, people love them. They're like, where did you get that? And I was like, I'm going to try to get Shayla to get these in the stores in Manhattan. But I was running in central park with all my Sauce stuff and I always got compliments because they're just kind of fun. They're not muted in any way.  I did not grow up Nordic skiing because I grew up in New York, but, I did not know that. Shannon Sepulveda:      05:43                I feel like the Nordic see culture is kind of fun in that sense. Like they tend to wear really bright, fun colors. And so that's kind of what Sauce headwear looks like. And you now, not just, you don't just make hats. Now you make other things. So why don't you tell us about branching out from hats? Shayla Swanson:                                   We are not trying to be a huge apparel line. What I think our sweet spot is and has been, is bringing a product to the market that we think we can do a better job at, I guess do something a little different that isn't out there and really focused on kind of our elements of like making stuff that's just right, warm, really comfortable and easy to wear and you know, brightly patterned and really pretty. So we make a couple of leg where styles, one of them that I think is our most unique and really applicable to our female athlete audience is our flurry tight. Shayla Swanson:           06:45                We've put some fleece lining on the quad and also sections of the butt where you get cold in the winter. Those are the two areas where, you know, you come in from a winter run or a winter ski and you think, Oh, I'm freezing on my butt and on my quad. So what we did was we left the rest of the tight unlined cause those areas stay pretty warm and I'm just focused on those spots. So, that's an example I guess of one of our apparel pieces. And we also do like a winter skirt and we have a summer product line that includes some tights and a tank top. And then also another product that I think I liked this one because of the name, we call it the cheeky retreat. So what it is just a nice skirt to cover up your tush if you really don't want it on display. Anyway, that's some of our other stuff. Shannon Sepulveda:      07:29                I bet you that skirt would be really good for like changing out of your bathing suit, like on the side of a river wherever you are. Shayla Swanson:                                   Yeah, it's an excellent, it's a great little coverup. Shannon Sepulveda:                              Yeah, it keeps things hidden while you want to change underneath. It works out really well for that. And I have tried the flurry tights. I loved them because yes, when you're a female and you run your butt gets cold and your thighs get cold and everything else does not. So it's really nice to have, you know, your calves can breath.  What Shayla does is also takes her hat patterns and creates leggings out of them. Shannon Sepulveda:      08:22                So they're just the really fun colors. And why don't you tell us a bit about like your custom program, because I know at least for most of the races in Bozeman and probably Missoula and probably Canada to lots of light, lots of places, in our race bags we get Sauce hats or headbands that have a logo of whatever the races generally which are awesome. So why don't you tell us a bit about that custom program? Shayla Swanson:                                   One of the really great business avenues that we sort of happened upon by accident was custom headwear for teams, clubs and events. We do two different options for custom. One is we take our stock product, so all of the hats and head bands that we have in stock and we add a logo to them. So we call that are basic custom program. Shayla Swanson:           09:16                And it's really great cause that allows we can do orders as few as 12 and it's really relatively inexpensive and it’s kind of a nice option for people. And then we also do what we call our full custom program. And that involves working with a customer to put a design together that is totally unique to their event or their store. We’ve outfitted orders that are like just an event order, but we've also gone as big as working with the whole, Canadian Jack Rabbit program, which is a youth scaly program in Canada that has over 10,000 kids in it. And they submitted drawing ideas to us and we held a contest to see who liked, you know, which design idea they liked best. And then we turned that little kids designed into a hat pattern and outfitted the whole country's youth programs. So that was pretty exciting for us. We currently don't do that order anymore because they have a sponsor that outbid us, but we loved it. It was awesome. Sometimes we have worked with, currently all of our product is sewn in our facility in Bozeman. In the past we have worked with manufacturers based in Los Angeles to help us out with orders that we couldn't quite handle on her own. Shayla Swanson:           10:36                So the nice thing about it though is that with the options that we have, we can accommodate, you know, we can really be, you know, cottage industry and do something really small and unique for a small customer. And then we can also access those other avenues to produce larger orders for big groups. So it's kind of fun. Shannon Sepulveda:      10:54                So along those lines, why don't you tell us about like your manufacturing, cause I think you do everything in Bozeman, right? Which is really awesome. So tell us a bit about that. Shayla Swanson:                                   Sure. Initially when we started doing this, I did not really contemplate the idea of doing all of the sewing in house. I was kind of content working with the manufacturer. But then we started just running into situations where you get a batch of hats back that weren't quite right. Or you know, you wouldn't be able to tweak a sizing concern until you already, you know, had placed your order with this group. And anyway, we just were running into all these situations where I thought, man, it'd be awesome if we could just make this stuff here. And so I bought some industrial sewing machines. Shayla Swanson:           11:41                Industrial sewing machines are interesting because they only do one thing. So unlike a home sewing machine that can do a bunch of different stitches in a programmed, you know, design, basically industrial machines only do one thing. So in order to make our products, we have four different machines that are able to do all the stitch patterns that we use in our stuff. And yeah, I was lucky enough to find some amazing sewers so, Bozeman is a funny little space in the world of manufacturing because we have several different companies that are much larger than we are, but they make all of their product here. So there's this weird little, like sims makes their waders here and mystery ranch backpacks. So we have access to are sewers in town who are, who are really skilled at what they do. Shayla Swanson:           12:28                And I was lucky enough to actually hire on three former sims employees, sorry. Sims. And they've been awesome. So they love it. They are given super flexible work hours. They do what works for them and they just sit around the machines and laugh and talk and have a great time and they make all of our stuff and they're really fast and good at it. So it's really fun. We have rolls and rolls of fabric and the corner of our space, we have a big cutting table. We use a big upright solid to cut all the patterns out. We're able to, you know, make small adjustments to sizing on the spot, you know, which is really great.  And then they just sewed them up, finish them up, keep them in our inventory space where our office is basically a large garage. So it's not pretty, but it works really well for our purposes. And it's just really fun to think that of all of the love that goes into each thing that we ship out the door. Shannon Sepulveda:      13:32                So I want to know how you create your patterns. And how you get that fabric made because you have fun new patterns every year. And I didn't know if that was like your brainchild or if it's a couple people's brainchild or if it's the company's brainchild or how you pick what pattern you'd like. Shayla Swanson:                                   Yeah. So it's not all me, that's for sure. There are trending reports that come out for the outdoor industry and I don't think they're as important in the outdoor industry as they are in, you know, the fashion industry. But, but what will happen is, a couple of companies come out with these trending reports that, that show you kind of what colors they think are going to be on trend for the upcoming season. And then what we do is we are an accessory piece. Shayla Swanson:           14:24                And so really we don't need to follow, we don't need to create our own trends, but we need to kind of follow what the other brands are doing. So if we see a company if the trending reports are coming out that, you know, really muted colors are, are going to be more prevalent than we want to try to offer some of those colors in our prints and patterns so that we can match your jacket from say Patagonia or something like that. So what we do is we just tried to I work a couple of different graphic designers who specialize in textile design and they'd come up with some concepts based on textile trends as well as color trends. And then we put that all together to try to make our line a really nice, complete offering to people cause you also want to make sure, you know, we want to make sure that if somebody loves pink, they can find a little pink in one of our hats. Shayla Swanson:           15:11                So we try to make sure kind of every main color is offered as well. So it's something between the science and art, I guess it's not all just creative energy going into that. We have to also look at some of the other factors and figure out where we fit in the mix. It's pretty fun and exciting. I wish I, I can't, I'm not as adept to the graphic design part of things. So I don't do a lot of the actual design, but I get to pick what I like best and, and where to go next. So it's really cool. Shannon Sepulveda:                              Especially because I love you Patagonia, but this year their colors were terrible. They were all these like muted colors. They had maybe like one bright color. And so I was like, I guess I'm just going to have to get a muted color and like wear a fun sauce hat. Shayla Swanson:           15:58                Well, I hope you were at least able to coordinate one color out of our hat with your jacket. Shannon Sepulveda:                              I was, yes, I was. I appreciate that you have fun colors. Oh, I'm hoping next year Patagonia, we'll have more bright colors. Bright colors will be back in season. Shayla Swanson:                                   Right. What I've actually had to do is, because I'm always going to be wearing one of our hats and I don't want to buy a new jacket every year is I've had to resort to black and gray in my outdoor apparel, because then I know I can always look okay with whatever hat I'm wearing and not have to buy a new jacket every year. Shannon Sepulveda:                              Yeah. I also think another great thing about Sauce hats, so, so Shayla and I both have kids is that and we both have a boy and girl is that, you can throw a toddler girl in all boy clothes and put a really fun toddler pink sauce hat, and then they look really, and then they look really cute. Yeah. So it's pretty awesome. Oh, why don't you tell us about your Kiddo? Shayla Swanson:                                   Oh my. I have two little ones and they are really fun and really hard at the same time. But it's been kind of fun because we made a baby hat for a while. And I was sort of like, yeah, it's really super cute, but I couldn't really get behind it as far as like whether or not it was a great product for kids. But yeah, we have this little chill hat that we make and I should also mention, we call our hats tukes that stems from my Canadian background. Shayla Swanson:           17:32                Winter hats in Canada are called tukes and it's spelled in a way that makes everyone want to say Toke or Torque even. So, it's a little confusing for people. But anyway, we make a little chill tuke for kids and it's been like the best hat for my young ones. I can't believe it. It's like I just have this constant stream there. I start them in the small move them up through the other, the other sizes. And what's great is that they're tight enough that they stay on their heads and I think they forget that they're on, which I think helps they so they don't pull them off. And the other thing is that they're warm but they're not like so hot that the poor little kid is like drenched with sweat underneath their hats. Shayla Swanson:           18:12                So they don't try to rip it off because they're uncomfortable either. So our chill tuke for kids has been amazing. My daughter who is almost a year, wears our large and my son who is three, where's our toddler size and yeah, it's been great. I can get behind them now. Shannon Sepulveda:                              Yeah, they're pretty awesome. Cause they have just like a fleece band. Right. And the top doesn't have fleece. So like when kids are playing hard, they don't totally sweat. Shayla Swanson:                                   And that's kind of our whole little goal with our headwear line is just to make sure that we're keeping, you just right warm. We want to make sure that you don't notice your head when you're out there exercising. Because I know for myself, I've worn Wool hats and been drenched with sweat and miserable and then you want to pull them off and then your hair freezes and then you're more miserable. Shayla Swanson:           18:57                So that's kind of our whole mantra is just let's keep you warm but not too warm. Shannon Sepulveda:                              Yeah. So, along those lines, since not everybody Nordic skis or lives in a place for Nordic skiing so runners really wear these hats a lot. I see out even when I was visiting Seattle, I saw a lot of runners in Seattle wearing the hat. So why don't you talk to us about just like other sports that they're useful for? Shayla Swanson:                                   Our line has now expanded to be a 12 month, you know, four season line we have some of are products that are ideal for summer activities. And then we also have our winter product line. So our winter product line, I would say we're kind of geared really, you know, well basically any activity really, I mean anything where you want to be comfortable and colorful and you might work up a sweat. Shayla Swanson:           19:54                So that might be running or hiking or skiing. And also we're a great little, like if you're an alpine skier and you wear a helmet so you don't really need a hat while you're skiing. We do make a helmet liner that fits under helmets. And then we also make a lot of our products are great little like lodge hats. So if you want to cover a pure helmet head and feel like you have put a little bit of effort into your appearance our products are great for that. And the other thing that we have when we expanded into this spring summer product line, we've introduced a couple of visor styles that have really flexible brims. They can be worn under helmets if you're a cyclist. They are great for running and hiking. And then we also have a product that's like a kind of two ways visor that can be worn. Shayla Swanson:           20:37                It's really if you're hiking and you're not sure what the weather's going to do, so you can cover, you can kind of cover up or wear less people say they love those on a boat too, because it keeps you from burning. That's our viser. I think what the feedback that I'm thinking about what's coming from this woman who said she loved, she always wore her hair in a ponytail and she always had like a part in her ponytail, in her hair, you know? So the way she would brush her hair back, she would always end up with like a sunburn in that area. But she said that with that product, she loved it because she still had plenty of room to like get her hair out the back, but she could kind of pull that piece back and so she didn't burn her head. Shayla Swanson:           21:21                So anyway, just little random stuff. Some of the stuff that, some of the benefits we claim are things that we thought of. A lot of them aren't benefits that we didn't think of, but there were people have decided works well for them. So that's pretty nice to hear that stuff too. Shannon Sepulveda:                              Why don't you talk about your tassels because I feel like you're the only, I don't know. I haven't seen any other hats that have flower tassels. Shayla Swanson:                                   The Flower Tassel. Yes. So, so our idea was kind of to bring a little bit of fun and spring summer brightness to the coldest dreariest winter day. So along those lines, we started using these little tassels on the top of some of our hats. Some people love the tassels, some people hate the tassels, but there are enough that love them that we definitely keep doing it. Shayla Swanson:           22:11                And so we offer three different styles of Tassel on the hat. And one is like a traditional kind of looks like a graduation tassel. And they're kind of popular in the Nordic world and maybe not anywhere else, but a runner sometimes or sometimes they bounce a little in your head. So, yeah. But they're cute. They're cute. And the colors are really pretty. The other type of tassels that we make is a flower tassel. And those come with mixed reviews. But again, it's one of those things that people who love them love them. We have a few stores that order exclusively flower tasseled hats because they know they will sell them because people think they're cute. In our offices I will say that we don't love the flower Tassel because while we've been able to outsource manufacturing of most of the tassels just cause they're kind of a pain, we have, we still make the flower tassels. Shayla Swanson:           22:58                We’ve tried to find someone who can help us make them but no luck so far. So, so we have some weird weird little non transferable skills that we joke about in our space where like we're really good at tying knots really quickly because you need to tie four knots on a flower tassel. And then we have a pom pom we can put it on the top of our hats too. A little pom is really cute. We get lots of different colors and anyway, that's another piece when we try to pick our prints and patterns, we have to try to figure out if we have tassels that work with the prints and patterns. Shannon Sepulveda:                              And so if someone wants to do a custom order, they can pick their hat print, tassel, logo. Shayla Swanson:           23:44                And that's kind of what's nice about say working with us versus other larger businesses that do custom work is that we can really say like, you'll get, you know, get an email saying like, these are all of your tassel choices, these are your fabric choices for your hats. It's kind of very customized. Very cool. Shannon Sepulveda:                              So why don't you talk a bit about your price point? Because for the life of me cannot understand how you make everything in Bozeman and the hats are still $30. Wow. Because that's pretty awesome, I think for a company to be able to do that. Shayla Swanson:           24:20                Yeah. The honest truth of it is this is the healthy, wealthy, smart podcast. Let's just say I probably won't be getting overly wealthy, but I love what I do. And so it doesn't matter too much. But it is true. There's something, the reality of it is that if you want to be really profitable in the apparel industry, I think you definitely have to send your stuff to places where they don't have to pay people much to make it the reality was sewing a hat or a piece of clothing is that it's touched. Every single seam is basically driven by a person. There are a few exceptions, but in general, a person is responsible for every seam on your clothing. Shayla Swanson:           25:11                Unlike an injection mold plastic piece or something like that where it's, you know, where it's really mechanized and automated. And so, yeah, as far as our price points go, we have to maintain some level of competition or competitive, you know, placement in the industry. So, yes, it is true that our profit margins are not as great as they could be, I suppose. But then we couldn't offer, we really, I think that we wouldn't have a business if we outsourced to somewhere like Asia or places because they have high minimums. They can't offer the flexibility that we can. So I feel as though, it's an interesting situation because I don't think we could do what we do using a different type of manufacturing model. Yeah. So what's really been great for us is that we have, this year in particular, we have really streamlined a lot of our production processes. Shayla Swanson:           26:07                I think we're getting faster and faster at everything we make, we're cutting down on complication and skews and things. Anyway, everything we can do to basically improve our efficiencies and make sure that we can be competitive with our price point and also be a healthy business. Yeah. So, yeah. So it's interesting. Shannon Sepulveda:                              Can you talk a bit about the contest? It seems like you have every year where someone designs a hat. Shayla Swanson:                                   Yeah, that's a fun one. So one thing that we have started to do, well I guess it's been probably five years of the contest now. We have a contest that runs every year in August or September, we call it our special sauce design contest. And what it is, is we basically send out a little pdf template and people can download it and basically send in a design idea. Shayla Swanson:           27:04                And what's really great is that we used to get comments, people would email us and be like, hey, why don't you have any hats that are blue? Or why don't you do this, this, this, or the other thing. And so it's been really great to be able to put the ball in our customer's court and have them tell us what they want to see. Every year we receive entries and we put them up on Facebook and we also allow people to vote on our website. You know, Facebook may or may not be a great avenue for that but yeah, people vote for their favorite designs and then we make them. So this year we had two really beautiful, we had a really beautiful floral that came through. We had basically two that were really neck and neck for first and second, so we decided to produce them both. Shayla Swanson:           27:49                And this graphic designer in town here in Bozeman that submitted this ridge line mountain design. And then what's really cool is that at the end of the year we kind of tally up how much we sold and then a percentage of the sales go back to the winners chosen charity. So yeah. So this year one of the hats we'll be donating to a foundation called the neo kids foundation. It's up in Sudbury, Ontario, which is where the winners of the contest live and that's where they wanted their proceeds to go. And then one of the designs here is going to go back to basically a fund for the Bozeman education. That foundation that supports kids that are homeless basically, who come and need some assistance that way. Shayla Swanson:           28:41                So we're really excited about that part of the contest too, cause it just gives us a chance to give back. Shannon Sepulveda:                              So we can find you in Bozeman. We can find you online. So why don't you tell us a bit about like where you're located in the country, what types of stores and like if people want to check out your products, where would they go? Shayla Swanson:                                   We are carried by about 200 retail locations across North America. So if you go to our website does have a store locator, which I will admit is about 90% complete. It's really hard to stay on top of all this stuff. We are distributed in the types of stores that carry us or generally like running shops. More like outdoor stores. Shayla Swanson:           29:32                Also anything that's kind of got a Nordic edge to it. Those shops typically carry us. So yeah, so we're available online. They're available about 200 retail locations and if somebody out there can think of a store that we should be in in that we're not, we always take suggestions for wholesale accounts that we should be reaching out to. So that's where you can find us. Shannon Sepulveda:                              Yeah, I was thinking about that when I was in Manhattan in November. I was like checking out stores. I was like where it just be as so many people complimented me on my hat. Cause I feel like New York is a lot of people tend to wear more muted things. Or in big cities in general, I think it's more muted. It's more muted. Shayla Swanson:           30:22                And that is one thing I will say is that we do, well, a lot of our patterns are kind of bright and colorful. We always make sure we have a black and white option. We always make sure we have a gray, you know, it's like we try to make sure we can also appeal to the more subtle Palette. Our winter product line has men stuff. And we always carry a black plain old basic black as well too. Our neck gator product is called our frosty. Kind of like the buff is sort of the Kleenex or the bandaid.  The brand that became the thing. So, my parents used to call it a chill choker. Shannon Sepulveda:      31:10                That was a new brand, like back in the 80’s. But we as children, I was growing up, we used to always call the chill choker. And I feel like it was wool and we wanted to just like rip your neck off and awful. And then they were like turtle fur, do you remember that? Shayla Swanson:                                   Well and that brand is still that brands still around there. You see them in places that carry us as well. Occasionally. But turtle fur is still around. We have a product coming out next fall. We currently make a like a neck breeder, but it's a lightweight net gate or color frosty for the neck. Next season, next fall we have a product that'll be coming out called throat coat. It's our aligned neck warmer. Shannon Sepulveda:      31:57                Oh, that's such a good idea. My son had, I think I got it at your clearance sale at the Cammo.  But it's really good idea to get, um, like a fleece lined one for the really cold days for, especially for downhill skiing. Shayla Swanson:                                   And the product we're, we're using the liner, we use them polar tech products to line our stuff. So for installation their fabrics and we're using a kind of a mid weight style, so it's like warm, but it's not going to be like saturated with breadth and moisture, like a fleece might be. And then it like freezes and it's stinky. My team might still be stinky, hard to say, but yeah, there anyway, all this stuff you try it, you try to think about, but it's something that's just a reality. Shannon Sepulveda:      32:49                There’s a place in Bozeman where you can Nordic ski and it's like all sourdough, right? So it's all up for nine miles, go all the way up for 10 all the way up for 10 miles. And so you get super sweaty all the way up and then you come down and you pretty much don't really have to ski on the way down and you're buff just becomes like an icicle because just like knock knock, by the time you get to the trail head because you've sweated all the way up and then you just freeze, freeze all the way down, all the way down. That's a tough, tough trail to dress for. You have to have like a backpack of layers to it. Right. To get down, to get down comfortably. I typically choose to just be really, really cold at the bottom. Yeah. And then turn on and then get in your car and turn on your seat heater. By the time you get to the house, then the cars finally warmed up and then you feel pretty good. What's new in the future? What can we look forward to? Shayla Swanson:           33:50                We have a few new products next season. We have really cool new patterns that are kind of basically images of our natural world that are going to be placed in the hats and the headbands anyway, so we're venturing out a little bit from what we typically do, but I'm really excited about. It's been well received by the stores that have seen the line already. So we have some new prints and patterns. It's usual. And then we have a couple of new headwear products that are sort of like hybrids of stuff we've already been doing just to I guess diversify the line a little bit and make sure everyone can find products that are aligned and warm enough for them. Shayla Swanson:           34:37                Anyway, that's kind of confusing. But I guess just in general, I'm our main product designer and I've been having children for the last few years and I haven't been feeling overly creative. My mom brain has, has really, I would say, shut that down for me. So I'm feeling like I've turned a corner here. I have a nearly one year old and I can, I'm feeling like I can start to think again. And so I'm looking forward to seeing what that, what that brings because it's always when I'm outside skiing or outside running or hiking that ideas come to me where I'm like, Ooh, this is, this would be a great product. So I'm looking forward to that. And so as far as what's coming next, I have a few things on the immediate horizon and then after that we'll see. Shannon Sepulveda:                              Cool. Yeah, I feel like you need like for at least for headwear winter headwear I feel like you need like the fleece line warm hat for like walking around town. And then you need like the thin hat for exercising and then you need the thin headband. Cause sometimes it's just your ears it get cold. And then you need the fleece lined headband. And then you probably need more stuff, but those are like my four go tos for like winter. But you definitely need the like non, it's nice to have the nonactive totally fleece lined hat for like warmth. Shayla Swanson:           35:30                The two products that we make that I think are good for casual or activity on a cold day. If you will athleisure headwear, we make a slouchy beanie. It's kind of like a slightly more, styled hat I guess. And it's, and it's really warm and cozy. So I, that's my like where around Go to and then we make our chill. Shayla Swanson:           36:19                Tuke is another one that you can wear casually in and look pretty cute, but it also works really well if you're skiing on earth, doing something on a cold day. And that's the one that has our little swirl closure at the top where you can kind of create some space and vent a little bit if you get too hot or you can throw a topknot out there if you, if you're so inclined. I never have hair long enough to do that. And that wasn't an intended benefit. The ponytail through the hole. People have figured out how to do that. Ooh, it's really cute picture of that on our website. And right now actually of someone doing that who had long, beautiful hair and just put the hat down over top of it and it's like, anyway. Shayla Swanson:           36:55                We have products that have more of like a standard ponytail hole right at the back of your head. But this one is kind of more at the top, which makes it a little weird, but it's still pretty cute if you have the right length of hair. I have recently kind of refallen in love with is our Bandura and it's basically like a kind of a pocket band. But what's nice about it versus some of the other brands that make more of like an active pocket band is this one. It doesn't, it looks more like an intentional addition to your outfit. So it's something you can work casual or active and basically it just looks like a little tank top sticking out from underneath whatever your layer over top is. Shayla Swanson:           37:39                So it's kind of hard to explain I guess on audio but it's like a fabric piece that goes around your waist. Elastic. Yeah, it's like a, it's kind of like a tapered fabric piece that goes around with the band around your waist. And it separated into six pockets and all the pockets are kind of semi secure, so they have a little flap over top and then they have an elastic drawstring waistband, so it's got some nice integrity. If you do pack it with stuff, it's not going to fall off. And like uses that. I, you know, I've been using it recently to cross country ski and I've thrown my water bottle in the back. And then I put my keys and my snack and my kick wax and my cork and I'm all, I've got everything I need. Shayla Swanson:           38:23                And what I also like is it's not tied around my waist. So that's really comfortable for me too. And then but other things I've heard people say like I've been at events where someone will come by and say, Oh, I wore this and while I was backpacking in Europe, I need another one. It was amazing. Like, so she said that she wore it everyday in Europe as kind of a money belt, but what was great is it just looked like a little black layer sticking out from under her shirt. So she's just, it was funny, she came, I didn't expect such a rave review from somebody, but she came back and was thrilled. And then it can also turn like any, it's great for cycling because if you want, if you want extra pockets but you don't want to wear a jersey that has pockets. You can throw that around your waist and then you can turn any shirt into a jersey. Shannon Sepulveda:      39:11                How about the sports bars or you're going to start making sports bras? Shayla Swanson:                                   I don't know. People ask me to, the two questions I get a lot. Are you going to make sports bras and then also are you going to make like cycling shorts with shammies? Oh, the thing I feel about both of those products is there's a lot of r and d that goes into making the perfect shammies and making the perfect sports bra and, and I'm just not sure we're, we're up for that. I don't want to throw something out to market and then being like, oh that actually is really not as good as the other ones you can find out there. So you know, maybe maybe it would be like, uh, yeah, probably not is realistically the answer. Shayla Swanson:           39:49                But I think what would be interesting is maybe we can find a way to supply people with like cute little shammy containing underwear that, you know, I can buy from someone else and then they can make sure that they can wear it under our shorts and then it would be kind of work for that as well. Shayla Swanson:                                   So to answer, I guess I should probably clarify like that's the kind of sports bra that maybe we could make, but if, but when it comes to making something that's really supportive and actually does a great job for women who have larger breasts, I don't think that would be hard. Shayla Swanson:           40:33                Yeah, there are some really great brands. Like there's actually a Montana based company called Anelle and it was founded by a woman in a small town in Eureka, Montana who I think she, well their company's based in Eureka. I think that's where she's from, but they make this amazing Bra for women with large breasts and like sports bra. They do a really great job and they're there. I see them at some of the trade shows I attend and am friends with some of the people that work for that brand, but so yeah, I think we'll leave it, leave it to the experts. Shannon Sepulveda:      41:06                Awesome. Anything else you want to add or talk about as far as Sauce and your company, Bozeman? Did you start it in Canada and then came to Boseman? Shayla Swanson:                                   Yeah. I moved here in 2003 to go to school. So I think we had made hats for one year before I moved here and then I moved here and I kind of became the US distribution center. Rhonda was still in Canada. But no, I guess, I mean it's become this really great and exciting thing. I didn't ever really anticipate for my hobby to grow into a business that would actually pay me a wage and it does. So it's pretty awesome. And I really like what I do, although I do wish every now and then, there wasn't a day when I learned, like, I kind of would like to like not learn an important lesson every day, be nice to have one or two days where I didn't think to myself, oh, that's something I need to remember. Shayla Swanson:           42:01                You know, I'm sure that's the case for most of us that you, I mean, you never want to stop learning, but sometimes you just wish it was a little bit easy for most entrepreneurs. I have been pretty good. I think one thing that has really helped me is that I truly have this, I learned how to lose early on, I guess with my ski racing. Like it's, you know, it sounds like a weird thing to say, but it's true. You know, you win some, you lose some. And I think it's important to learn how to lose and understand that it's not the end of the world and understand that really every time you try something, as long as you learn something from it, it's a success, you know? Shayla Swanson:           42:43                Yeah. So that's kind of how I try to move forward. I've only made one or two, like really expensive mistakes, so these ones are harder to deal with. But you know, we're all doing our best, so you gotta just have to do what you can and, and move forward. Shannon Sepulveda:                              Do you have any advice for any other female entrepreneurs? Shayla Swanson:                                   Oh, I think one thing I'm not doing a great job at, so this is I guess me telling someone to do different. I love every part of my business and the problem I'm having right now is that I'm trying to do too much of it. And I've heard that that's a kind of a common thing, probably also a barrier to really making it big in some of these things as I have a little trouble letting go of certain aspects of my business. Shayla Swanson:           43:30                But truly it's not necessarily because I am like super type A and can't let someone else do it. It's more just cause I really liked doing it. So anyway, I have to, I have to figure that out for myself. So I guess my advice to someone would be if you can, you know, delegate and do a good job of getting someone else to take care of some of this stuff off your plate is probably a good idea. Shannon Sepulveda:                              What I find is, I mean, after I started my own practice, it was great and I love it, love it, love it. But you can't turn off. No, there's no, especially with kids too, it's like I would love to be able to turn off, be present, and I'm trying really hard to do that. But it's hard. There's always something to be done. Shayla Swanson:                                   And that's one thing, you know, having kids, like before I had kids, it was, I worked long days, I liked what I did and then I went home and that we didn't even have internet at our house at that time. Shayla Swanson:           44:21                We did that on purpose. My husband and I just decided like, we want to work when we're working and we want to not work when we're at home. And so we had this great little like work home separation was really helpful. And now I can't have that because there and we don't really, we, my husband and I swapped to take care of our kids. So basically I'm either working or I'm taking care of the kids and there's never enough time to do either one. And then you have to sleep because if you don't sleep, you get cranky. So yeah, I don't have a great solution for that. I think you just have to do what you can to try to turn off when you're with your kids and keep a list. I think a list is really critical because then you can turn off your brain as long as the stake has been planted somewhere where you know you won't forget what to take care of. Shayla Swanson:           45:05                I read that in a great book. It was called, I think it was called getting things done and that was his main, main, main advice was you only have, like if it's, you have one place where you keep track of that kind of stuff and only one, like you don't have a phone and then a calendar and a little mole skin notebook. And then you have one place where you keep track of things and you always write down what you're doing and what you need to do. And then that way when it's time to not think about it, you don't have to think about it cause you know where it is. And you know that you won't forget because it's in that one place. Shannon Sepulveda:      45:40                That's such a good idea. It's really helpful because like last Friday it was late. I was trying to get all my paperwork done and I knew I had all day. Monday is my admin day, but I still felt like I needed to get it done on Friday. But if I had just re wrote it down, these are the things we're going to do on Monday, then I come back on Monday and I finished that. Right. All there. Shayla Swanson:                                   Thank you. Getting things done. Book. I don't remember who, that was helpful. It was a good book. Shannon Sepulveda:                              Why don't you tell us where we can find you? Social Media, etc. And how we can get in contact with you. Shayla Swanson:           46:32                Sure. So I'm online, we are at www.sauceactive.com. I'm on social media. You can find us at Sauce active on Facebook. That's Facebook and Instagram primarily when we actually post. And if you want to get in touch with us by email info@sauceactive.com is probably the best email address. Shannon Sepulveda:                              So if someone who is listening has a great store that says, Hey, they should carry sauce, we should email you. Shayla Swanson:                                   That would be great. That would be great. If you have anything to anything to say, we'd love to hear from you. Shannon Sepulveda:                              Do you have a newsletter? Shayla Swanson:                                   Oh Great. Yes, we do have an email newsletter that we send out. It's not super regularly regular, so don't, don't be afraid that of a bombarded inbox. But there is a newsletter sign up at the bottom in the center of our website, so we do send that out. Shannon Sepulveda:                              Cool. And why don't you tell us about the gift to our listeners. Shayla Swanson:           47:23                That is great idea. So if you want to buy something on our website, we would love to offer you 20% off if you enter code hws19. So that's hws19 20% off online Shannon Sepulveda:                              That's a good deal. It's a really good deal. Especially, like I was saying, I don't know how you make hats for $30 in the US because they're awesome and we support the local community Shayla Swanson:                                   And you're supporting our sewers, Linda, Laura, and Karen, which I think is pretty fun. So you're not just, you know, buying a hat. You're actually supporting Linda, Laura, and Karen and Shayla. Shannon Sepulveda:                              Well, Shayla thank you so much for coming on the program and we really thank you, it was really great talking to you. Shayla Swanson:                                   Thanks. Thanks for having me. It was really fun.   Thanks for listening and subscribing to the podcast! Make sure to connect with me on twitter, instagram  and facebook to stay updated on all of the latest!  Show your support for the show by leaving a rating and review on iTunes!  

In this week's episode, I had a chat with my comic friend Anelien about her experience with webcomics and manga in the Philippines!You can follow Anelle here:https://twitter.com/cupcakelogichttps://www.instagram.com/aneliencupcake/Credits to my pal Simon for the super awesome intro/outro music. You can hear more of his wonderful ear candy here: https://soundcloud.com/dlseamusic=====You can check out some of the comics we'd discussed in the links below. If you’re interested, please support these authors and artists!Over The Garden Wallhttps://www.comixology.com/Over-The-Garden-Wall/comics-series/50051?ref=Y29taWMvdmlldy9kZXNrdG9wL2JyZWFkY3J1bWJzEmily Carroll's Comicshttp://www.emcarroll.com/comic/Alison Bechdel's Fun Homehttps://www.amazon.com/Fun-Home-Tragicomic-Alison-Bechdel/dp/0618871713

Our beautiful country is facing a carjacking onslaught. One vehicle is hijacked every half hour. South Africans are being hurt and often shot and killed by carjackers. It is a shameful indictment on our society. One attempted hijacking hit the headlines recently as the footage was viewed 11 million times internationally. In studio, the couple involved - Anelle and Roger Hills - tell the full story. This is a further show in a series in which we collaborate with LegalTalk SA. www.cliffcentral.com

CliffCentral.com — Our beautiful country is facing a carjacking onslaught. One vehicle is hijacked every half hour. South Africans are being hurt and often shot and killed by carjackers. It is a shameful indictment on our society. One attempted hijacking hit the headlines recently as the footage was viewed 11 million times internationally. In studio, the couple involved - Anelle and Roger Hills - tell the full story. This is a further show in a series in which we collaborate with LegalTalk SA.

Do #Sovereign Women exist? Fact or Fiction? Where are they? Join us as we take a look at #Sovereignty, from a Black Woman's perspective. Sister Anelle (@sunshineproductionsworld) is bringing us some information based on personal research, experiences and interviews conducted on her radio show, Life In Focus {Sundays, 10:30p. www.kpft.org}. 

What would you do if your neighbour's crowing roosters and other fowl kept you awake? In studio are Anelle and Roger Hills, who took their neighbours to court. www.cliffcentral.com

CliffCentral.com — What would you do if your neighbour’s crowing roosters and other fowl kept you awake? In studio are Anelle and Roger Hills, who took their neighbours to court.

Anelle Miller, Director of the Society of Illustrators and the Museum of American Illustration in New York City, understands a successful career requires more than just talent. After all, it's not what gifts you have, it's what you do with them. Early on Anelle learned what to do, what not to do, and how best to harness the creativity of herself and those around her. For this conversation, Anelle discusses the importance of confidence (not arrogance!) and how being a team player, a good leader and "the kind of person others want to work with" has contributed to her success. Since 2007, Anelle has served as Director of the Society of Illustrators and the Museum of American Illustration in New York City but her Creative Career story began many years earlier, in 1978, when she joined The Estée Lauder Companies. During her tenure, Miller helped to build their Origins-division to the 5th largest within the corporation. In the years following, Miller founded several successful businesses of her own including Bean Bag - a healthy food company featured in Women's Wear Daily and Allure magazine, and Original Women a company whose mission is to celebrate the artistry of women from around the world by selling their handcrafted creations. She serves on the board of Friends of Materials for the Arts, Friends of Art and Design (a neighborhood association that supports the school) and has worked with groups such as New Alternatives for Children, Coalition for the Homeless, PENCIL, The Foundling, and AMAC, which supports autistic children and their families.