Podcasts about The Angry Beavers

I kicked things off with my “New Year, new me” update, where I proudly announced that I've stopped biting my nails and, believe it or not, even managed to cut back on my daytime smoking. Yes, it's a small victory, but when you're trying to be wedding-ready, every little bit counts.My gym escapades at Planet Fitness provided plenty of comic relief. Picture this: me, barely a minute in, setting off the infamous lunk alarm, and having to explain to a very confused staff member that it's just my natural charm wreaking havoc on the quiet gym ambiance. Over time, I learned that five minutes on the StairMaster is the unofficial test of being a “bad bitch.” Trust me, if you can handle those stairs, you've already earned a spot in my inner circle.But the absurdity doesn't stop there. I laid out my wild plan to have Joe Exotic, yes, the Tiger King himself, officiate my wedding. I even joked about needing a presidential pardon—courtesy of Donald Trump—to get Joe out of prison in time. It's a ridiculous notion, but then again, so is my life, and I wouldn't have it any other way.Nostalgia hit hard in this episode, as I reminisced about my childhood filled with Nickelodeon gems like “Hey Arnold” and “Angry Beavers,” alongside the life lessons of “Boy Meets World.” It's funny how those shows, once the center of my universe, now serve as bittersweet reminders of a simpler time, even as I navigate the complexities of adult life and reunions that are more awkward than heartwarming.Of course, no episode would be complete without a jab at modern technology and social media. I ranted about the ongoing drama on Facebook—yes, that relic—and urged everyone to ditch it for something more authentic. Meanwhile, I defended my love for Tesla's cutting-edge tech, not because I'm a fan of Elon Musk, but because I truly appreciate innovation when I see it.And then there was Pokémon Day. While the hype for downloadable collections and new game announcements fizzled out (once again), I managed to snag a holographic Articuno in a Twitter giveaway—another reminder that in this digital age, even our hobbies come with a side of irony.In a nutshell, episode 179 is a snapshot of my life: part self-improvement saga, part pop culture rant, and entirely unapologetic about the absurdity that is my world. What are we doing? Apparently, we're laughing in the face of chaos—and that's just how I like it.*************************************************************✅BLUECHEW - FIRST ORDER FREE Only $5 Shippinghttps://wawdpod.com/blue*************************************************************

This podcast hit paid subscribers' inboxes on Jan. 22. It dropped for free subscribers on Jan. 29. To receive future episodes as soon as they're live, and to support independent ski journalism, please consider an upgrade to a paid subscription. You can also subscribe to the free tier below:Who* Travis Kearney, General Manager* Aaron Damon, Assistant General Manager, Marketing Director* Mike Chasse, member of Bigrock Board of Directors* Conrad Brown, long-time ski patroller* Neal Grass, Maintenance ManagerRecorded onDecember 2, 2024About BigrockOwned by: A 501c(3) community nonprofit overseen by a local board of directorsLocated in: Mars Hill, MainePass affiliations: Indy Base Pass, Indy Plus Pass – 2 days, no blackoutsClosest neighboring ski areas: Quoggy Jo (:26), Lonesome Pine (1:08)Base elevation: 670 feetSummit elevation: 1,590 feetVertical drop: 920 feetSkiable acres: 90Average annual snowfall: 94 inchesTrail count: 29 (10% beginner, 66% intermediate, 24% advanced)Lift count: 4 (1 fixed-grip quad, 1 triple, 1 double, 1 surface lift – view Lift Blog's inventory of Bigrock's lift fleet)Why I interviewed themWelcome to the tip-top of America, where Saddleback is a ski area “down south” and $60 is considered an expensive lift ticket. Have you ever been to Sugarloaf, stationed four hours north of Boston at what feels like the planet's end? Bigrock is four hours past that, 26 miles north of the end of I-95, a surveyor's whim from Canadian citizenship. New England is small, but Maine is big, and Aroostook County is enormous, nearly the size of Vermont, larger than Connecticut, the second-largest county east of the Mississippi, 6,828 square miles of mostly rivers and trees and mountains and moose, but also 67,105 people, all of whom need something to do in the winter.That something is Bigrock. Ramble this far north and you probably expect ascent-by-donkey or centerpole double chairs powered by butter churns. But here we have a sparkling new Doppelmayr fixed quad summiting at a windfarm. Shimmering new snowguns hammering across the night. America's eastern-most ski area, facing west across the continent, a white-laced arena edging the endless wilderness.Bigrock is a fantastic thing, but also a curious one. Its origin story is a New England yarn that echoes all the rest – a guy named Wendell, shirtsleeves-in-the-summertime hustle and surface lifts, let's hope the snow comes, finally some snowguns and a chairlift just in time. But most such stories end with “and that's how it became a housing development.” Not this one. The residents of this state-sized county can ski Bigrock in 2025 because the folks in charge of the bump made a few crucial decisions at a few opportune times. In that way, the ski area is a case study not only of the improbable survivor, but a blueprint for how today's on-the-knife-edge independent bumps can keep spinning lifts in the uncertain decades to come.What we talked aboutHuge snowmaking upgrades; a new summit quad for the 2024-25 ski season; why the new lift follows a different line from the old summit double; why the Gemini summit double remains in place; how the new chair opens up the mountain's advanced terrain; why the lift is called “Sunrise”; a brief history of moving the Gemini double from Maine's now-defunct Evergreen ski area; the “backyard engineering degree”; how this small, remote ski area could afford a brand-new $4 million Doppelmayr quad; why Bigrock considered, but ultimately decided against, repurposing a used lift to replace Gemini; why the new lift is a fixed-grip, rather than a detachable, machine; the windfarm at Bigrock's summit; Bigrock in the 1960s; the Pierce family legacy; how Covid drove certain skiers to Bigrock while keeping other groups away; how and why Bigrock became a nonprofit; what nearly shuttered the ski area; “I think there was a period in the late ‘70s, early ‘80s where it became not profitable to own a ski area of this size”; why Bigrock's nonprofit board of directors works; the problem with volunteers; “every kid in town, if they wanted to ski, they were going to ski”; the decline of meatloaf culture; and where and when Bigrock could expand the trail footprint.Why now was a good time for this interviewIn our high-speed, jet-setting, megapass-driven, name-brand, social-media-fueled ski moment, it is fair to ask this question of any ski area that does not run multiple lifts equipped with tanning beds and bottle service: why do you still exist, and how?I often profile ski areas that have no business being in business in 2025: Plattekill, Magic Mountain, Holiday Mountain, Norway Mountain, Bluewood, Teton Pass, Great Bear, Timberline, Mt. Baldy, Whitecap, Black Mountain of Maine. They are, in most cases, surrounded both by far more modernized facilities and numerous failed peers. Some of them died and punched their way out of the grave. How? Why are these hills the ones who made it?I keep telling these stories because each is distinct, though common elements persist: great natural ski terrain, stubborn owners, available local skiers, and persistent story-building that welds a skier's self-image to the tale of mountain-as-noble-kingdom. But those elements alone are not enough. Every improbably successful ski area has a secret weapon. Black Mountain of Maine has the Angry Beavers, a group of chainsaw-wielding volunteers who have quietly orchestrated one of New England's largest ski area expansions over the past decade, making it an attractive busy-day alternative to nearby Sunday River. Great Bear, South Dakota is a Sioux Falls city park, insulating the business from macro-economic pressures and enabling it to buy things like new quad chairlifts. Magic, surrounded by Epkon megaships, is the benefactor of marketing and social-media mastermind Geoff Hatheway, who has crafted a rowdy downhome story that people want to be a part of.And Bigrock? Well, that's what we're here for. How on earth did this little ski area teetering on the edge of the continental U.S. afford a brand-new $4 million chairlift? And a bunch of new snowmaking? And how did it not just go splat-I'm-dead years ago as destination ski areas to the north and south added spiderwebs of fast lifts and joined national mass-market passes? And how is it weathering the increasing costs of labor, utilities, infrastructure, and everything else?The answer lies, in part, in Bigrock's shift, 25 years or so ago, to a nonprofit model, which I believe many more community ski areas will have to adopt to survive this century. But that is just the foundation. What the people running the bump do with it matters. And the folks running Bigrock have found a way to make a modern ski area far from the places where you'd expect to find one.What I got wrongI said that “hundreds of lifts” had “come out in America over the past couple of years.” That's certainly an overcount. But I really had in mind the post-Covid period that began in 2021, so the past three to four years, which has seen a significant number of lift replacements. The best place to track these is Lift Blog's year-by-year new lifts databases: 2021, 2022, 2023, 2024, 2025 (anticipated).I noted that there were two “nearby” ski areas in New Brunswick, the Canadian province bordering Maine. I was referring to 800-vertical-foot Crabbe Mountain, an hour and 20 minutes southeast of Bigrock, and Mont Farlagne, a 600-ish-footer an hour and a half north (neither travel time considers border-crossing delays). Whether these are “near” Bigrock is subjective, I suppose. Here are their trailmaps:Why you should ski BigrockFirst, ski Maine. Because it's gorgeous and remote and, because it takes work to get there, relatively uncrowded on the runs (Sunday River and Pleasant Mountain peak days excepted). Because the people are largely good and wholesome and kind. And because it's winter the way we all think winter should be, violently and unapologetically cold, bitter and endless, overcast and ornery, fierce in that way that invigorates and tortures the soul.“OK,” you say. “Saddleback and Sugarloaf look great.” And they are. But to drive four hours past them for something smaller? Unlikely. I'm a certain kind of skier that I know most others are not. I like to ramble and always have. I relish, rather than endure, long drives. Particularly in unknown and distant parts. I thrive on newness and novelty. Bigrock, nearly a thousand feet of vert nine hours north of my apartment by car, presents to me a chance for no liftlines and long, empty runs; uncrowded highways for the last half of the drive; probably heaping diner plates on the way out of town. My mission is to hit every lift-served ski area in America and this is one of them, so it will happen at some point.But what of you, Otherskier? Yes, an NYC-based skier can drive 30 to 45 minutes past Hunter and Belleayre and Windham to try Plattekill for a change-up, but that equation fails for remote Bigrock. Like Pluto, it orbits too far from the sun of New England's cities to merit inclusion among the roster of viable planets. So this appeal, I suppose, ought to be directed at those skiers who live in Presque Isle (population 8,797), Caribou (7,396), and Houlton (6,055). Maybe you live there but don't ski Bigrock, shuttling on weekends to the cabin near Sugarloaf or taking a week each year to the Wasatch. But I'm a big proponent of the local, of five runs after work on a Thursday, of an early-morning Sunday banger to wake up on the weekend. To have such a place in your backyard – even if it isn't Alta-Snowbird (because nothing is) or Stowe or Killington – is a hell of an asset.But even that is likely a small group of people. What Bigrock is for – or should be for – is every kid growing up along US 1 north of I-95. Every single school district along this thoroughfare ought to be running weekly buses to the base of the lifts from December through March, for beginner lessons, for race programs, for freeride teams. There are trad-offs to remoteness, to growing up far from things. Yes, the kids are six or seven hours away from a Patriots game or Fenway. But they have big skiing, good skiing, modern skiing, reliable skiing, right freaking there, and they should all be able to check it out.Podcast notesOn Evergreen Valley ski areaBigrock's longtime, still-standing-but-now-mothballed Mueller summit double lift came from the short-lived Evergreen Valley, which operated from around 1972 to 1982.The mountain stood in the ski-dense Conway region along the Maine-New Hampshire border, encircled by present-day Mt. Abram, Sunday River, Wildcat, Black Mountain NH, Bretton Woods, Cranmore, and Pleasant Mountain. Given that competition, it may seem logical that Evergreen failed, but Sunday River wasn't much larger than this in 1982.On Saddleback's Rangeley doubleSaddleback's 2020 renaissance relied in large part on the installation of a new high-speed quad to replace the ancient Rangeley Mueller double. Here's an awesome video of a snowcat tugging the entire lift down in one movement.On Libra Foundation and Maine Winter SportsBacked with Libra Foundation grants, the Maine Winter Sports Center briefly played an important role in keeping Bigrock, Quoggy Jo, and Black Mountain of Maine ski areas operational. All three managed to survive the organization's abrupt exit from the Alpine ski business in 2013, a story that I covered in previous podcasts with Saddleback executive and onetime Maine Winter Sports head Andy Shepard, and with the leadership of Black Mountain of Maine.On Bigrock's masterplanWe discuss a potential future expansion that would substantially build out Bigrock's beginner terrain. Here's where that new terrain - and an additional lift - could sit in relation to the existing trails (labeled “A01” and A03”):On Maine ski areas on IndyIndy has built a stellar Indy Pass roster, which includes every thousand-ish-footer in the state that's not owned by Boyne: This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.stormskiing.com/subscribe

Send us a textIn this week's episode, the guys review the 1997 cartoon The Angry Beavers.Get more CDD on Patreon!Visit the website!Support the show

Nothing bad can ever happen when all your favourite boys get together to talk about working slave jobs,Tinder live, the election, Meta Army conscription, PP, seal clubbing, that guy with the glasses, Musk's rocket, getting crazy at the Dentist, insurrection land acknowledgment, American Indigenous-Chinese army, the guy who shot Bin Laden, Trump's Celebrity Cabinet, the literacy rate, Rami Malek's mouth, The New Norm x Fuggedaboutit, Yvonne of the Yukon, Crank Yankers, tv license, Grossology, not all Angry Beavers, the Rizzler on Letterman, the Costco Guy lineage, Rizzler conservatorship, Italian Peewee Herman, Bryan Johnson's cult, Facebook roleplay, testing groomed WoW kids, sustaining Survivor and Ukraine Unavailable. We have got so much to talk about.

Hey everyone, in this episode we Raul and Anthony get to celebrate indie horror by talking a lot about indie horror movies. We have special guests Justin and Anthea Best the husband and wife indie filmmaking power couple. They help us review The Void, Splinter and In A Violent Nature, we hope you enjoy. Splinter Raul - 9 out of 10 Splinter Zombies Attacking An Overheated Car (buy) Anthony - 9 out of 10 Police Officers Torn In Half (Stream on wherever it is and if you like it buy it) Justin - 7 out of 10 Angry Beavers (stream) Anthea - 7 out of 10 Angry Beavers (stream) The Void Raul - 8.5 out of 10 Getting Face Fucked By Tentacles (priority stream)  Anthony - 8 out of 10 Mad Doctors trying To Cheat Death (stream it and if you really like the then buy it, if you don't Like it stream it twice) Justin - 5 out of 10 triangles (stream) Anthea - 6.5 out of 10 Triangles (double feature with Splinter) In A Violent Nature Raul - 9 out of 10 Bodies Getting Chucked Through Glass Displays (buy) Anthony - 8 out of 10 Impromptu Swims (Stream on shudder unless you're a slasher completist then buy) Justin - 2 out of 10 heads through the torsos (avoid if you like good movies) Anthea - 2.5 out of 10 Hooks To The Chest (watch if you have nothing better to watch) Website Links: Website -⁠ https://headlongintomonsters.godaddysites.com⁠ Twitter -⁠ https://twitter.com/In2Monsters⁠ E-mail - ⁠headlongintomonsters@gmail.com⁠ Facebook Group -⁠ https://www.facebook.com/groups/1192679381675030⁠ Anthony Links: Sintagram - ⁠⁠https://www.instagram.com/johnnypaintbox/⁠⁠ Johnny Paintbox - ⁠⁠https://www.johnnypaintbox.com/info/artist-statement-⁠⁠ MRAC Film Club - ⁠https://podcasts.apple.com/us/podcast/mrac-film-club/id1716134038⁠ Ashley Links: Twitter -⁠ https://twitter.com/BarelyAshley⁠ Letterboxd -⁠ https://letterboxd.com/barelyashley/⁠ Monochrome Creeps Hashtag link (watch long party every saturday night at 11 pm EST with Ashley and Tombs on twitter)- ⁠https://twitter.com/hashtag/MonochromeCreeps?src=hashtag_click⁠ Raul Links: Twitter -⁠ https://twitter.com/RaulVsMonsters⁠ Letterboxd -⁠ https://letterboxd.com/into_monsters/⁠ Justin and Anthea Links: Insta - https://www.instagram.com/stories/sherylthemovie/ Twitter - https://x.com/SherylTheMovie Listener Feedback, Horror Happenings and Ra-Ghouls Reprehensible reading Room music Created by Mike Miller (Mike twitter): ⁠https://www.facebook.com/profile.php?id=100004929583462⁠ Opening Music:⁠ https://audiojungle.net/item/80s-horror-retro-background/33176055⁠ Closing Music:⁠ https://audiojungle.net/item/hip-hop-horror/25238003⁠

Ever wondered how the creators of iconic 90s cartoons like "Angry Beavers" and "Ren and Stimpy" left such a lasting mark on pop culture? Join us as we kick off this episode with a trip down memory lane, reminiscing about these animated gems and the quirky minds behind them. As we get nostalgic, we also share our not-so-glamorous tales of traveling while under the weather. Our immune systems are begging for mercy, and we're mapping out future strategies for flu and COVID shots, all while balancing the chaos of productivity and much-needed self-care.Shifting gears, we're pulling back the curtain on workplace performance metrics. Whether you're a fan of MBOs, KPIs, or OKRs, they can be both a blessing and a curse. Through personal anecdotes, we navigate the tricky terrain of bonuses and external company influences and discuss why we prefer environments where individual success isn't overshadowed by overall corporate performance. It's a candid conversation about the realities of tying your personal victories to broader business metrics and the impact it can have on job satisfaction.And introducing a fresh segment, “Is it Me or Is it Corporate,” where we dissect workplace dilemmas with the help of our community on Discord. We toy with the idea of using an anonymous bot for submissions, diving into topics such as career transitions, age discrimination, and job title frustrations. With a nod to platforms like Reddit's "Am I the Asshole," we embrace anonymous feedback and diverse perspectives. Expect lively debates about personal priorities, the twists and turns of career paths, and the irony of corporate enthusiasm. Don't miss out as we unravel these topics with our characteristic humor and insight.Click/Tap HERE for everything Corporate StrategyElevator Music by Julian Avila Promoted by MrSnoozeDon't forget ⭐⭐⭐⭐⭐ it helps!

Day 5 of the 31 Days of Dread What do The Angry Beavers have in common with The Incredible Hulk? How does the overlooked Avengers Assemble animated series fit in? And what about Marvel's supernatural universe? AKAPAD breaks it all down in his deep dive into Hulk: Where Monsters Dwell. Everything will be revealed!

Day 5 of the 31 Days of Dread What do The Angry Beavers have in common with The Incredible Hulk? How does the overlooked Avengers Assemble animated series fit in? And what about Marvel's supernatural universe? AKAPAD breaks it all down in his deep dive into Hulk: Where Monsters Dwell. Everything will be revealed!

Fear not cit-i-zens! Evil-doers will cower at the sight of MUSCULAR BEAVER, a mighty hero saving the day for woodland creatures everywhere! Wooosh! For many 90s Nick Fans, Angry Beavers was one of those Nicktoons that felt it was too late to the party, as it has the sentimentality of early 90s Nick, but the polished look of late 90s Nick. Today, in this Patreon-exclusive bonus episode, Alex and Brett don their capes and underwe- I mean... utility shorts to discuss all five episodes of the Muscular Beaver Saga, how they rank among each other, and have some fun with a round of trivia in Think Fast to Make the Grade. If you're into superheroes, comic books, or just all around silliness, you're gonna love this one. Enjoy this episode from the Slime Vault! Get your tickets to Splat Con! https://www.splatcon.com/tickets Use code attack10 for 10% off tickets. Use code attack25 for $25 off hotel bundle. Unlock Bonus Content on Patreon Shop at our Splat Attack Merch Store Email Us: SplatAttack2021@gmail.com   YouTube: Splat Attack! Podcast Instagram: @SplatAttackPodcast Please leave us a review in your podcast app! 

Send us a textEllia and just back on to discuss life's most important topics. From the deep themes hidden in "Rugrats," "Rocko's Modern Life," and "Angry Beavers," to the emotional impact of anime series like "Dragon Ball Z," "Avatar," and "Cowboy Bebop," we cover it all. We even touch on the heart-wrenching final season of Pokémon.  We also delve into the ups and downs of competitive fitness events, from controversies and challenges to the evolving leadership and programming in CrossFit. Plus, stay tuned for our plans on producing shorter, more frequent episodes to keep you engaged and coming back for more.

Sal and Adam return to talk about the week of wrestling. They take the desert bus to discuss the new Kevin Dunn, Except not shitty, and try to figure it out in five. Patreon.com/rundownwrestling

The Nostalgia Junkies are back for the beginning of season 3! Alex and Cruz start off the episode discussing Marvel developments over the summer as well as the newly added companion channel on YouTube: No Cable Crew. The boys then discuss their recent trip to RetroWorld Expo in Hartford, CT and getting to meet fellow collectors MortsGarage, Phoenix Resale, Curtis from Pixel Game Squad, etc. Alex and Cruz then bring back "This or That" comparing Space Jam vs Sandlot, Bubble Yum vs Bubble Tape, and Rugrats vs Hey Arnold! Then the boys move into the Meat and Potatoes of the episode: Ranking 90s Nicktoons. Alex and Cruz rank shows from Ren and Stimpy to SpongeBob to Angry Beavers to Aaaah Real Monsters and more! How do their rankings compare with your own? Let us know in the comments or shoot them an email. Finally, the Nostalgia Junkies conclude the episode by breaking out a new deck of 90s trivia cards! Can you answer the questions they miss? Email us your thoughts and comments: nostalgiajunkiesct@gmail.com STORE: https://www.etsy.com/shop/NostalgiaJunkiesShop  Follow us on our Socials: INSTAGRAM: ⁠⁠@nostagiajunkiespodcast⁠ TIKTOK: ⁠⁠@nostalgiajunkies⁠podcast⁠ YOUTUBE: ⁠⁠@nostalgiajunkiespodcast⁠⁠ Subscribe and Review!  Check out ThrowbackBuys.com and use code: NJPOD for 15% off your next order!   

Aye-yi-yi-yi-yi! Legendary voice actor Richard Horvitz has taken over the podcast! Not that we mind of course. Richard voices iconic characters such as Invader Zim, Daggett from Angry Beavers, Alpha 5 from Power Rangers and more!Support Jim on Patreon for EXCLUSIVE CONTENT including EARLY & AD-FREE ACCESS, DISNEY AUDIO COMMENTARIES, PRIZE DRAWS and more by joining the Toon'd In! family today at patreon.com/jimcummingspodcastFor more information on Jim's upcoming appearances, visit jimcummingsworld.comOrder a cameo from Jim at cameo.com/toondinjimcummingsCHECK OUT FOUR FINGER DISCOUNT'S OTHER PODCASTS:Four Finger Discount (Simpsons) - spreaker.com/show/four-finger-discount-simpsons-podcastGoin' Down To South Park - spreaker.com/show/goin-down-to-south-parkThe One About Friends - spreaker.com/show/the-one-about-friends-podcastSpeaKing Of The Hill - spreaker.com/show/speaking-of-the-hill-a-king-of-the-hill-Talking Seinfeld - spreaker.com/show/talking-seinfeldTales Of Futurama - futuramapodcast.com Become a supporter of this podcast: https://www.spreaker.com/podcast/toon-d-in-with-jim-cummings--5863067/support.

On this week's episode, we have actor Cynthia Mann Jamin (Friends, Ahh! Real Monsters, Angry Beavers and many many more) and we discuss her journey as an actor and director. We also talk about how the two of us met as well as what it's like working together. Tune in for so much more.Show NotesCynthia Mann Jamin IMDB: https://www.imdb.com/name/nm0542699/Cynthia Mann Jamin on Amazon: https://www.amazon.com/prime-video/actor/Cynthia-Mann/amzn1.dv.gti.ca37e830-61b1-44db-8fe5-979422acb482Cynthia Mann Jamin Shop: https://www.twirlygirlshop.com/A Paper Orchestra on Website: https://michaeljamin.com/bookA Paper Orchestra on Audible: https://www.audible.com/ep/creator?source_code=PDTGBPD060314004R&irclickid=wsY0cWRTYxyPWQ32v63t0WpwUkHzByXJyROHz00&irgwc=1A Paper Orchestra on Amazon: https://www.amazon.com/Audible-A-Paper-Orchestra/dp/B0CS5129X1/ref=sr_1_4?crid=19R6SSAJRS6TU&keywords=a+paper+orchestra&qid=1707342963&sprefix=a+paper+orchestra%2Caps%2C149&sr=8-4A Paper Orchestra on Goodreads: https://www.goodreads.com/book/show/203928260-a-paper-orchestraFree Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Newsletter - https://michaeljamin.com/newsletterAutogenerated TranscriptCynthia Mann Jamin:If it wasn't something that was organic for you, it would be torture trying to become this person that you think other people want to see, or you got to position yourself like this other person over here. But it really is about finding your unique voice because that's all we have.Michael Jamin:You are listening to What The Hell Is Michael Jamin talking about conversations in writing, art, and creativity. Today's episode is brought to you by my debut collection of True Stories, a paper orchestra available in print, ebook and audiobook to purchase. And to support me in this podcast, please visit michael jamin.com/book and now on with the show.Michael Jamin:Hey everyone, welcome back to another episode. I have a very special guest today, the very beautiful and talented, I'm going to call her Cynthia Mann, although she's now currently Cynthia Mann Jamin and she's my wife and Cynthia. I met years ago, I was a writer on a show called Just Shoot Me, and she was the guest star and she was a working actor and she worked on many shows including she was a recurring on Friends. She had, I dunno, five or so or six episodes on Friends Recurring on Veronica's Closet, Seinfeld, er Suddenly Susan Will and Grace, all those shows of the nineties, all those musty TV shows. She did almost all of them. And now she is the director and producer of my one man show as well as the audio book. So I thought a paper orchestra. So she did all of that. So I thought we would talk to her about that and about her experience working in Hollywood as well as directing and producing my audiobook for all of you people who aspire to do something similar. Hello, Cynthia.Cynthia Mann Jamin:Hi Michael.Michael Jamin:Hello. My beautiful wife. She's in the other room. We're pretending we live far apart, but actually we live very close to each other.Cynthia Mann Jamin:You could say we're roommates.Michael Jamin:This is my roommate, Cynthia. So thank you so much for doing this. Thank you, most of all for producing and directing my show. And I don't know, where do we begin? What should we start with?Cynthia Mann Jamin:Well, I think it's, the thing that's interesting is people might want to know how is it working together and why do we work together?Michael Jamin:I don't have an answer for that. You're cheap labor. That's why we work. I don't have to pay you. Why is that? Why we work together?Cynthia Mann Jamin:Well, it's funny because it goes all the way back to when we were first dating. I think if you want to talk about that because Go ahead. Well, we love doing projects together.Michael Jamin:Projects, we call them projects. How the Canadians say It. Project,Cynthia Mann Jamin:Yeah, projects. And when we first met it was kind of like, well, we had this common interest of he's a writer, I'm an actor, but it's like you can't sit around all day and just write and act. So we would find common things that we like to take walks, we like to do hiking. I taught you about Run Canyon, you were running in the flats. And I'm like, what the hell are you doing? Why are you running in the flats? Why don't you run up a hill?Michael Jamin:I didn't realize you could. It was so steep. And then you said you ran it. So I said, oh, alright. I guess I could try running it. ICynthia Mann Jamin:Totally ran it. I ran it all the time. I had, I had really muscular legs. YouMichael Jamin:Did. ICynthia Mann Jamin:Know you did. Yeah. And I still do. But yeah, so we would find little things to do and I would take you around LA and get you lafy and teach you what Celestial seasoningsMichael Jamin:AndCynthia Mann Jamin:Stuff. Yes, teaMichael Jamin:Is and also Whole Foods and Mrs. Gooch's. Mrs.Cynthia Mann Jamin:Gooch's. Yeah. This is way back. WeMichael Jamin:Would go to all this. She didn't approve of the supermarkets that I went to. So youCynthia Mann Jamin:Can go in there. I'm not going to get my food there you there though.Michael Jamin:And so many ways You helped me a lot with art because you are an artist. You were a starving artist when I met you.Cynthia Mann Jamin:Oh yes. Yeah. Well, barely getting by. I would say would barely getting by. I've had every survival job you can think of. I've done singing telegrams with the monkey that goes like this, and I've done sold shoes and I've waitressed and I've done a million survival jobs. So in my thirties I finally started to get acting jobs and I was a professional dancer for a while. And Grit didn't go to college right away, only finished two years of it. Later in my thirties when I met Michael, I was going to college and working and going on auditions and all of that. And when I met Michael, it was one of those crazy auditions where the casting director, Deb Burki, who I'm forever grateful for, she brought me in just to the callback. She didn't even read me first because we had had a relationship and she always appreciated my work and thought, oh, this is good for Cynthia.Let me just bring her in straight to the producers. And I remember Steve Levitan was there, probably Andy Gordon and Eileen because it was their episode and Eileen Khan and I got that job. She called me the next day and just said, yeah, you got it. And I was like, oh, yay. I'm so excited. And they only booked me for three days. So when I went on the set, it was at Universal because I didn't really know what Just Shoot Me was. It was a new show and I don't think it was airing yet. It was just the first six episodes. So nobody really knew what it was about or the tone or anything. And I just went in, did my scene, went home prepared to come back the next day for shoot day. Really? And you guys sent me a script at nine in the morning or something like that and said, we rewrote your scene because we found a better way to write this scene. I don't know, you can tell me the behind the scenes of that. I don't really know why you did that.Michael Jamin:I don't really remember why that was rewritten. It was a long time ago.Cynthia Mann Jamin:I think it was. Maybe it just wasn't exciting enough or something. And you wanted the dialogue to be between me and Laura more.Michael Jamin:I don'tCynthia Mann Jamin:Remember. Instead of the roommate. And so you guys had me into the writer's room before, which is very unusual. You never really go into a writer's room to work out a scene. But because we were shooting it that day and we had to go straight to the run through and I think the network was going to be there. You didn't want to mess around. And so you gave me notes and we rehearsed it and Laura was there and the other scene partner who, I'm so sorry, I forgot his name. Chris,Michael Jamin:I want to say.Cynthia Mann Jamin:Yeah, Chris. And then we just went and shot it. And then I shoot the scene at night and I'm like, oh my God, this was so much fun. And it was great. And I'm like, all right, I'm going to go. And who's standing right next to me as I'm walking off the set and kind of hanging back and it was you.Michael Jamin:It was me,Cynthia Mann Jamin:It was you.Michael Jamin:And then you said you wanted to marry me. I said, I don't even know you.Cynthia Mann Jamin:I complimented your tie. That's right. And then you said, I did a really nice job. Yeah, you did. And I said thank you. And then we were talking about, I think you said, so what do you like to do for fun? Or something like that. Yeah. We went and I asked you that and you said you swing dance. And I had already been swing dancing at the Derby many times with my friend Brendan. And we would go and swing dance. SoMichael Jamin:MyCynthia Mann Jamin:Knees went weak when youMichael Jamin:That's right. I took, it was either you or Brendan I took you.Cynthia Mann Jamin:So then long story short, there was a couple of weeks that went by and you called me and said, hi, this is Michael. And I said, I don't remember that name, but you're making it up because he has that name. And then you said, no, it's me and I would like to take you out for coffee. And I said, I don't drink coffee. I drink tea.Michael Jamin:Yeah, we had tea instead.Cynthia Mann Jamin:He said, that's okay, huh?Michael Jamin:Yeah, yeah. Right.Cynthia Mann Jamin:And then I remember this, Michael, on our first date, I hung back in my car because I think I saw you walk in. I'm like, I got to be a little late. I got to make him wait for me a little bit. So I made you wait just a little bit. And then I go in and the woman comes and says, so do you want a chocolate chip or oatmeal cookie, highland grounds? And it's not there anymore, I don't think. And you took the longest time figuring out what flavor you wanted. For me it was easy. It was chocolate chip or peanut butter. That was the other one. And then you go, I go, why did it take you so long to order the cookie? And you go, because I wasn't sure if there was anything to be gained by lying.Michael Jamin:Yeah. I was trying to impress you with the choice of cookies.Cynthia Mann Jamin:Weirdest thing anyone said to me that you cared enough about. The cookie choice is crazy.Michael Jamin:And then we've been together ever since.Cynthia Mann Jamin:We've been together ever since. And to go back to the projects, we started with tiling a table that now our daughter has at her college apartment. And that was our first project. And then we decided to have kids, and that was our second project.Michael Jamin:ThenCynthia Mann Jamin:I started my business Twirly Girl, which I ran for 15 years. Still going, but not as big. And you helped me with that. You wrote all my commercials and did all of that. And then you wrote a book and then I'm helping you with that. So I think we're better when we're working together, honestly.Michael Jamin:Yeah,Cynthia Mann Jamin:I do. I think it's, when I was doing Twirly Girl and you were working as a writer and all of that, we never really connected on any kind of common ground aside from the kids because you were always doing your thing. I was doing my thing. But then when you started to write the commercials, I think our relationship went to another level because it's like you're appreciating the other person for their gifts and what they bring to you. But it's also like you're helping me with something that really means a lot to me. And it was like this back and forth that just felt so great. And I trusted you more than anyone to put me in the best light. And I think that's the same with you trusting me with your words because I care about them and I want to present you in the best light and I'll work tirelessly to get it.Michael Jamin:And you have produce the audio book and you had to learn how to do all that. What do you have to tell people? What do you have to share? What wisdom can you share with people on starting something like this?Cynthia Mann Jamin:I would say, and I was talking to Lola about this last night, and what occurred to me was that when you have the pinch or you have the idea, just the idea to do something and it's filling you with a lot of joy and passion and it almost creates its own engine in you, and you just feel so motivated to attack it and see if you can accomplish it. It almost doesn't matter if anybody else likes it because it's something you need to do. And I felt that way with my business. I remember creating these dresses and going, I know they're special. I know they are so special. And I don't even, the icing on the cake is that other people love them, but that's not why I'm doing itm doing it because I need to do it. And it's bringing me so much joy and it's fulfilling something in me that was missing or that I didn't even know that I needed.And it brought me so much that I could have more than I could have ever thought, oh, I'm going to make dresses because it's going to give me a sense of self. It's going to fire that entrepreneurial spirit. It's going to make me feel connected to those around me. I'm going to share my story about it. I couldn't have thought that I just followed the desire to make something. And then all these things kind of cascaded. And that's what I'm telling you. That's how I feel about the audio book. When you said, all right, you're going to direct and you're also going to edit it and you're going to do all these things, I'm like, I don't know how to do Pretty much, I knew how to direct because of the acting background, but I didn't know how to do an audiobook. We didn't know how we wanted this to come into the world and what it would look like. But I felt that desire, that same joy to just achieve this. And we love it and we know we did an amazing job, and the fact that it's resonating with other people is icing on the cake because we couldn't not do it.Michael Jamin:But you still had to learn a lot of skills to do that.Cynthia Mann Jamin:Well, I think I love, I'm one of those people that loves learning by doing. You would tell me, watch the videos on how to do it. And I was like, this is not going to go anywhere for me because I'm not going to retain it unless I need it. If I need to know how to do something, then I'm going to learn it. So I learned by doing it. And that process is so exciting to me because I know that I'm also growing as a person if I can accomplish something really hard that I don't think I know how to do or I've never done before. So that challenge is also really gratifying for me.Michael Jamin:And now there's the next challenge, which is taking it on the road.Cynthia Mann Jamin:And we have no clue how to do that either. Yeah,Michael Jamin:We'll figure it out. I guess we'll just make it happen.Cynthia Mann Jamin:Yeah,Michael Jamin:It's really just about putting your energy into something and then watching as things start falling into place.Cynthia Mann Jamin:Exactly. You don't know what you don't know, but you'll find it out. And then that thing will lead to another thing. And we have very different styles. You and I, what my sense of what you do, and you tell me what you think mine is, but my sense of what your approach is is you throw a hundred percent of your energy into thinking about it, and you're almost like tunnel vision. You have to be so hyperfocused on it until you get it to where you want it to be and nothing distracts you. What do you think my style is? I'm just, is that I have that right?Michael Jamin:I'm not really sure. I guess so I'm not really sure I, I guess I work on it until I'm done.Cynthia Mann Jamin:But it is like you have this hyper focus about it. And for me, I kind of feel guilty if I'm not like you just sitting at the computer and studying it and figuring it out, then to me, I have to walk away and I have to kind of let it settle. And then I have to really check in with my intuition in a way and go, okay, what's the next right move? Where do I need to spend my energy is just spinning my wheels, trying to figure it out, doesn't work for me. And I feel like you are good at that. You're good at like, okay, I'm going to figure this out. And you just keep working it and working it kneading the dough. And for me, I have to leave it and come back to it.Michael Jamin:All of it was every single part of it. None of it's easy. I don't know why people expect it to be easy. We all want it to be easy, but it never is. The creating of it is never easy. And then the marketing of it, putting it out there and getting people to, that's half the battle.Cynthia Mann Jamin:And I think the main thing that we discovered, and I think you working with Twirly Girl really helped you with this project because you saw how being authentic and really communicating with your audience in a very real way resonates. And there's no other way to do it because how could you post every single day if it wasn't something that was organic for you, it would be torture, trying to become this person that you think other people want to see, or you got to position yourself like this other person over here. But it really is about finding your unique voice because that's all we have. There's a million books out there. There's a million dresses. I created dresses. There's a million of them. We don't need another one. But what we don't have is the dress that I can make. What we don't have is the book that you can write. And I think leaning into that perspective is really, really empowering and crucial to the creative process.Michael Jamin:We would speak a lot. We would go on walks and speak a lot about, in the beginning we would talk about what the function of art is, what's the expectation and what the market is. I remember talking about, because David Sedaris is the one who inspired me to write this. I love his writing. And it's the same genre, personal essays, and I remember talking to you, but we know what he writes. People love, we know there's a market for it. So I be doing that.Cynthia Mann Jamin:Yeah, I, but he's kind of paved the way, and that was inspiring. I think inspiration is so healthy, and that's what you were inspired by. But the whole thing that you talk about is finding your voice, and it took you a while to find the rhythm. And people, when they read it, they're never going to confuse David s and Michael Jamin. They're never going to, because your background in TV gave you this whole different way of going into a story and entertaining an audience. And that's just in your blood. It's in your makeup, it's just who you are and the details of everything that you write. It reads like a film or cinematically because there's no moment in there where it's not leading to something elseMichael Jamin:You are listening to. What the hell is MichaeliJamon talking about? Today's episode is brought to you by my new book, A Paper Orchestra, A collection of True Stories. John Mayer says, it's fantastic. It's multi timal. It runs all levels of the pyramid at the same time. His knockout punches are stinging, sincerity. And Kirks Review says, those who appreciate the power of simple stories to tell us about human nature or who are bewitched by a storyteller who has mastered his craft, we'll find a delightful collection of vignettes, a lovely anthology that strikes a perfect balance between humor and poignancy. So my podcast is not advertiser supported. I'm not running ads here. So if you'd like to support me or the podcast, come check out my book, go get an ebook or a paperback, or if you really want to treat yourself, check out the audio book. Go to michael jamin.com/book. And now back to our show.Michael Jamin:I wish it was a genre that was easier to explain to people, because when people say, what's your story? What's a book about? I have to try to explain, well, it's personal essays, but it's not an essay. Essay sounds like homework. It's not a memoir because I'm not important that it's my memoir. They're stories, but they're true. But what is that? It'd be just so much easier if I could say, well, it's YA fantasy or something. And people go, oh, okay. I know what young adult fantasy is, but it's not that. And so that's part of the uphill struggle that we have is explaining to people, getting people to understand enough just to take a chance and read it.Cynthia Mann Jamin:But I think letting people catch up to what is what's important, what it is, is important because you're assuming that you have to spell it out for people. And I'll equate it again to Tuley Girl, the dresses I made were so hard to explain. And we were like, but it's not this. It's not fantasy, but you can wear it every day. And I had about 5,000 different taglines because I couldn't communicate it. And then finally you came up with the most amazing explanation of what it was after probably about eight years of doing it, which was, whatMichael Jamin:Was it? You could say it. You could say it.Cynthia Mann Jamin:Well, we don't create dresses. We create your favorite childhood memory. Happy childhood. We're creating happy memories,Michael Jamin:Happy childhood memories.Cynthia Mann Jamin:Dress isn't just a,Michael Jamin:You got it wrong. We create happy childhood memories. That's whatCynthia Mann Jamin:It was. Right? Happy childhood. Well, I've had a year doing the audiobook, so 12 Girls in the Distance there.Michael Jamin:But that was another thing I remember. We saw a wonderful special by this guy named Derek DelGaudio called In and of itself, it's a wonderful, it was on Hulu. It was like a one-time special, basically like an hour long or something.Cynthia Mann Jamin:Well, it started as aMichael Jamin:Stage play. It started as a stage play. But when I tell people, when I try to describe what it's about, it's almost impossible to describe. And that's part of the problem. It's hard. It was such a uniquely wonderful experience, but it's impossible to tell people to describe it because it's its own thing.Cynthia Mann Jamin:Yeah, I But you would say it's a one man show and a very unique experience,Michael Jamin:But there's magic and it's participation, but it's not magic. It's something else.Cynthia Mann Jamin:Yeah, it's not a magic show.Michael Jamin:No, it's not a magic show. So it's really hard to, putting something in a box makes it easier to sell because people can understand what the box is. And I feel like that's part of the struggle I have with a paper orchestra, which is, and everyone who reads it, they love it, but they still don't understand what it is until they actually read it.Cynthia Mann Jamin:But see, I think what you have on the cover is perfect. It's true stories about the smallest moments that you sometimes forget. What if the smallest moments were the ones that meant the most? So that says everything to me. That's all I need to know.Michael Jamin:That's what the book is. It's just about, hey, here's a small moment in life where I point out, which easily you could have forgotten about because it's so small. And it turns out, if you look back at that moment, everything changed because of it.Cynthia Mann Jamin:And I love that you talk about the fact that it's really not about, you have to have these catastrophic or monumental things happen to you to be a changed person. Most of us don't have those huge, huge moments and so tender and intimate about it and relatable because you didn't come from an unusual background. You're pretty average with child of divorce. That's kind of average for our job, do.Michael Jamin:So those are the kind of stories that I tell, and I said before, I really don't think the stories are my stories. The details are mine, but I'm really trying to tell your story. But maybe you haven't figured out how to do that. But I do that because I'm a writer, so I know how to do that.Cynthia Mann Jamin:Yeah, yeah. And I think we're just, it's nice that we're able to work well together in so many ways. And I think it really does stem from having that deep respect for each other's gifts, and we're able to really be very upfront with each other when we don't like something or when we question it. And I'm not married to my way doing it my way. I'm really looking at the bigger picture. I want a paper orchestra to be great. What's going to serve that? And I think we both have that in mind. And in terms of the tour and taking it on the road, I mean, I think you're more than ready to perform it. And I'm so excited for people to be able to experience it in that way as well.Michael Jamin:Yeah, it's a different kind of, that's why, because the show, it is a theatrical show. And I do think there's something more intimate about, people say, can't you record it and play it? Yeah, I could, butCynthia Mann Jamin:Well, that's the audio book. But that audio book is going to be different.Michael Jamin:But in terms of even recording the stage show, you'll miss the intimacy of being right in front of me, being in the room and feeling the energy. You don't feel the energy. That's probably the thing with tv, it's great. It's a wonderful form, but you don't have the same energy as you do seeing live theater. And I wish there's a better way because many people don't want to see live theater, but it's different. It's a different experience. Good theater is great. Bad theater is terrible. That's why it runs the whole gamut. There's that expression. Nothing lasts forever except for bad theater, and that's because of the energy. So it goes both ways.Cynthia Mann Jamin:And when we were working together on the audiobook the first time, we were trying to convey that performance that we do live. And after listening to it again and showing, having our daughter, Lola, listen to it, and her listening to literally the first three minutes, and I had already edited the whole thing. She was like, oh no, this isn't, I can't, you got to bring it down. And we were like, yeah, I had a feeling because when I was editing it, I was like, I don't know. I dunno about this. We just got to see.Michael Jamin:Yeah, we had to do it again because we wanted the performance to be more intimate because you're listening to it on headphones or alone in the car, and it's a different, you're not listening it in a group of people, which is what the theater show is. So I'm literally in your head because you're wearing headphones. We had to bring everything down and make the performance much more intimate. It's a different, and we'll have to see how that affects my next performance with my live show.Cynthia Mann Jamin:You're totally different. I know, totally. But see, when you say we had to bring it down, I don't like saying it like that because it makes it sound like it's sleepy and it's not.Michael Jamin:You had to bring it moreCynthia Mann Jamin:Intimate. But it's like I really wanted, it's more like you contained the energy. They took this kind of energy that needs to project out, and we harnessed it and shoved it into a little two 12 by 12 area inches.Michael Jamin:But this is all acting stuff that I could not have done without you because you're an actor. I have couldn't have figured this out on my own, I don't think.Cynthia Mann Jamin:No, I think it would've been really hard because your tendency when you would just start to read it before I would kind of steer you in the right direction or go, oh, you're going down the wrong path. Let me take you over here. That's pretty much all I needed to do in those moments. But your natural tendency was to just start reading it. And I'm like, where are you? I don't hear your personality. I'm not engaged in the story because you are not connected to it. So it really required the same amount of energy, Michael, that does for you to do this on stage, but you had to have the same amount of energy but contain it.Michael Jamin:Yeah. I mean, it's a whole different art to it, not an actor. So I had to learn how to do, how perform it to keep people engrossed in it. So I dunno, it's a fun performance. We want to travel because this is what we want to do next. We want to travel together and put it up and continue. So if anyone wants to come see it, you can go to michael jamin.com/upcoming and enter your city, and then we'll let you know. When we get to your city, we're figuring out how to, this is the next thing we're figuring out how to actually make it happen so we can do this effectively. Bring it to people's, bring the theater because it's a whole, again, people will say to me, whoa, can you sell it as a tv? Maybe it could be a TV show, maybe it could be a movie. And I'm always thinking about, why can't it just be a book? Why can't it be an audio book? Why can't it be a theatrical show as if TV or movies is somehow better than the experience that we're creating now? I don't think it is. And I work in television and film, I don't think it's better.I think there's a betterness to what we have.Cynthia Mann Jamin:Yeah, there's a pureness to it. There's something very simple and pure and the pacing of it. Everything is consumed so quickly right now, and it's almost too much. It's just too much. And what this does is it helps us to slow down. Yeah,Michael Jamin:There's a power in the pause. There's so much energy that you can portray. This is something that took me a while to have confidence to do, but you can act. You're talking, you're saying you're doing whatever, the whole dog and pony show, but in leaving that pause and saying nothing, there's this anticipation and the audience is just waiting for it. And it's like a loaded gun.Cynthia Mann Jamin:Yeah. I don't like that analogy, but what is it? Well, it's like you're on the edge of your seat and you've got us in your hands, and we're just captive. We're a captive audience. Time stands still. Time stands still, and we're just with you. And it really is allowing our being to kind of just be in that moment. It crystallizes the moments. And those are the moments in theater that why it's so impactful is because we're in this communal experience together where we're experiencing time at the same time, and we're also being together at the same time. It's very profound. And I remember working with you on the audio book and you were really hesitant to take us with you. I remember that. I kept saying, take us with you, Michael. It was like, but I'm going too slow or I'm going too fast. Or it was like, it didn't matter. The pacing. I would arbitrarily tell you, take us with you. And you would say, but I am. I go, yeah, but even if you're slow, or even if you're fast, the intention is to connect with us and make sure that we're with you. And it's hard on an audiobook because there's no audience, but with an audience, you can feel.Michael Jamin:Yeah. But with the audience too, I'm in front of a bright light. I don't see them. I can sense them, but I can't see anybody. ButCynthia Mann Jamin:That's what's important is you sensing it. You can totally sense it. You can sense it because you can hear the Oh or that, or you can hear laugh, or you can hear the silence is different than a regular silence. It's like a pin drop.Michael Jamin:There's that moment at the end of the Marissa disclaimer where I confess to something and the audience is so disappointed. I remember the first time we performed it, they were just like, oh,Cynthia Mann Jamin:We all go. OhMichael Jamin:Yeah. Everyone was so disappointed in me. But that's so effective about it, is that they were along for the ride. And yeah, and that's another thing. You gave me a couple of things that helped me before each show. You printed out Ellie Zen's, what is it called?Cynthia Mann Jamin:Letter to the actor.Michael Jamin:Letter to the actor. And I read it before where I talk about, where he talks about what my responsibility is to the audience as a performer, what my responsibility is. And so it doesn't feel, it's not like, because it can come off as being self-absorbed acting. It could come off as being narcissistic. Look at me. But you can't look at it that way. You have to look at it as this is what I have to do in order to give you what you want,Cynthia Mann Jamin:A gift. You have to give the audience a gift, and you have that responsibility to leave it all on the stage. And when you're an actor, it's no longer about you, Michael. It's about the words on the page. And you need to fulfill those words on the page. And as an actor, we're taught that the words are sacred. We don't change the words. We don't try and outthink the words. They are everything. And our job is to bring that to life and bring ourselves to the piece.Michael Jamin:And it's exhausting, though, at the end of the show. It is exhausting. Don't people appreciate how much energy I have to be in every moment so as not to check out or phone in, or just at the end of the night, I'm exhausted from an hour show. It's like, God,Cynthia Mann Jamin:And you're not expected. It's impossible in a way. And the greatest actors will say this too, that it is a job. So what do you do if you're not feeling it? And in that moment, you're thinking about what you're going to have for dinner, or, oh my God, I can't wait to just go home and lie down because it requires so much energy. And what you do is you go with that truth inside. I don't even want to be here right now. You use the truth of what you're feeling in that moment, and that brings you back into the piece. You have to connect to something real. Whereas if you're denying it and you're going, oh my God, I suck right now. I need to force myself to have this energy, then you're going to overcompensate and you're going to force it. And it's not going to be truthful. But if you really go into the moment of like, ah, damn, I'm just, I got nothing. I feel nothing. How does that make you feel? Feels pretty shitty. All right. I'm just going to say the next line from this place, because this is where I'm at. And then it takes off. Then you're off again. I mean,Michael Jamin:But what if the line, you're not supposed to feel shitty onCynthia Mann Jamin:It. The audience buys it because the audience knows truth. As long as you're truthful, we're going to take however you read it and go, oh, that must be what that means. Oh, the character must feel this way. They're not going, oh, Michael.Michael Jamin:But the character is not supposed to feel the character's excited to be at a party,Cynthia Mann Jamin:But it could look like this. Oh my God, I am so excited to be here. It could look really intense and focused when I'm feeling like God damnit, I'm not feeling anything. Instead of the idea of, oh my God, and I'm so happy to be here. Why does it have to come out that way? Even if I came out and was like, I'm really excited to be here. What does that come out? It could come across. I'm a little nervous or I'm excited. I'm afraid to showMichael Jamin:It. But it feels truthful. You're saying?Cynthia Mann Jamin:Yes, as long as it's rooted in some kind of truth, the audience will interpret it however it needs to go with theMichael Jamin:Story. This is some high level directing shit for people,Cynthia Mann Jamin:Don't you think? Yeah. I mean, I appreciate that. I think a lot of it to me is very, how I was trained was always going with what is. And you hear a noise, somebody, it's not about everybody being quiet all the time and ohMichael Jamin:My God. So what happens if you hear a noise backstage during your show,Cynthia Mann Jamin:You incorporate it. Even if you don't want to draw attention to it, you as the actor, because the audience is all going to hear it. So if you hear that, I have to just kind of go, all right, I don't have to comment on it. I just have to take that moment and allow it to be there. Because again, if you deny it,Michael Jamin:But doesn't that break the fourth wall? If you hear a banging backstage and then you turn your head and you acknowledge it, it's backstage.Cynthia Mann Jamin:But it could be if you're the character and you hear something backstage, that's the world you're in. It could be in the next room.Michael Jamin:You have to, if you don't acknowledge it, if you don't acknowledge, it's like, well, why aren't they acknowledging?Cynthia Mann Jamin:And then there's a giant elephant in the room and stuff like props falling over. Oh my God. There'd be the worst thing an actor could do. One of the worst things is like their hat falls off and it's not supposed to fall off. And the whole time it's sitting in the middle of the stage, the audience is worried about the hat. Now we're going to be thinking about the hat. So the worst thing an actor can do is to deny that the hat fell off. You know what I mean? Use it. Use all of it. All it is for the moment to fuel you. And sometimes the best. When I was on friends, David Schwimmer and I were rehearsing our scene. You did a bad thing. Very bad. Very, very bad. Yes, I know that scene. And we were rehearsing it and we screwed up, but we didn't sit there and go, oh, wait a minute.We screwed up the line. Let's take it back. No, you just go with it. And Marta and David, the show creators were standing right off to the side, and they're like, wait a minute, guys, what happened there? It was like, yeah, we screwed up the lines. Well, that's going in. We're going to do it that way now. And so the best, the happy accidents are when you don't plan it and you're going with it. And Michael, you have some amazing moments in the audio book where you can't speak. You're so full of emotion that you can't speak. And I've listened to it a number of times in my car, and my heart goes into my throat because I can't see you. And a lot of times I don't remember. It always catches me by surprise that that moment is happening. And I think, oh my God, did the audio track drop out? Because there's such a stillness. And then all of a sudden you come back in and your next line is just, you can barely even talk. And that resonates through the frigging speaker. We're not even seeing you. That's how powerful our emotion is if we just allow it to take us and to trust it. And it's transformative. ItMichael Jamin:Really is a time machine for me, because when I'm retelling those stories, it's like I'm living it again. Again. And people, the funny thing is, people after that show, when I do this, some of those stories, people are worried about me.Cynthia Mann Jamin:Yeah, yeah. Because that's what IA Kaza talks about, is you just leave it all on the stage. Yeah. Because why else are you there? Why are you there? If you're not going to go there, then why are you there?Michael Jamin:That's why I feel like one of the things that I like about personal essays, which is so hard to explain to people, but when they read it, they get it. Is that a novel? The characters are made up. They're fictitious. And the worst thing that can happen to your charact, they'll die. But again, they're just made up, so everything's fine. Your favorite made up character just had something horrible. Again, they're just made up. But with these personal essays, I feel the stakes are higher. I feel like it's a unique art form because the stakes, it's a real person telling real stories about themselves. The stakes are higher because they're not made up.Cynthia Mann Jamin:And that's the beauty of you performing your own work too, is that you can really shine in that way. You don't have to worry about becoming a character, putting something on, but I think it is hard for you because you have to psyche yourself up to really go there. It's like your energy has to be up. You have to be willing to investigate that. And if you're not feeling it, you got to go with the truth that you're not feeling it it. Then see where that leads you. It's scary.Michael Jamin:It's also, the funny thing is I don't really have any desire to do anybody else's to act in someone else's show. I don't have a desire to become an actor. It's just really more like I have a desire to pursue this art.Cynthia Mann Jamin:And why do you feel the pinch to want to perform it? And I've asked you this in the end of the audio book too, but it's not so much. What is it in you that needs to be seen and heard, orMichael Jamin:I'm not entirely clear on it. I just want to, I suppose it's because, and I'm very happy. I've had a long and successful career as a TV writer, but part of me also feels like there's just something missing from what I write.Cynthia Mann Jamin:Interesting. Yeah. Yeah. Maybe it's similar to when I was a dancer. I was like, I need more expression than this. I have to act now because dancing just is part of the expression, but it's not allowing me to fully express everything. So maybe performing is part of that for you. It's not enough to just have people read it or listen to it. You want to experience it with them. You need that connection, that expression.Michael Jamin:Yeah, I guess. And I also, I kind of want to just do something special. That's all. Because I wonder sometimes before when I go on, I go, why am I doing this? I just want to create something special that people will like. And I think people get it from the book and the audio book, so it's not necessary. I don't think it's necessary for me to perform, but maybe it's a plus. I don't know.Cynthia Mann Jamin:Yeah. I think more will be revealed as they say. You'll see why. And that's another thing about following those creative impulses. I know because I have this hindsight with Twirly Girl, after doing it for 15 years, I can honestly look back and say that I would've never expected to have experienced what I experienced in the way that all the gifts that it brought me, there's no way I could have predicted that. And I think it's the same thing here. You just don't know where it's going to lead you, but you feel the need to do it. And I think that's enough. I think that's all you need, honestly. It takes on a life of its own too.Michael Jamin:Yeah. We'll see where it goes, but we'll just put energy into it and see where it goes.Cynthia Mann Jamin:Yes. Onto the next project. But this project now,Michael Jamin:Well, maybe that, is that where we conclude this podcast? Is there anything else to cover?Cynthia Mann Jamin:I don't know. I don't know anything else for you.Michael Jamin:I don't know. I'm very grateful for all your help doing this. I couldn't do any of this without you. And for everyone listening, it really helps if you have someone helping you with whatever your project is, it does help a lot. And so you have to find the right person, whoever that is.Cynthia Mann Jamin:Well, I'm so grateful for you and everything that you've brought me, and this is just a joy and everything I want it to be. It is. And I'm so happy to be working with you.Michael Jamin:Yeah, you're sweet. Alright, everyone, there you go. A paper orchestra signed copies are available@michaeljamin.com. You can also find the link to the paperback, the ebook, the audiobook, the audiobooks on Audible, Spotify, and Apple. It's called The Paper Orchestra, produced and directed by Cynthia.Cynthia Mann Jamin:Yeah, but here's the thing, guys. If you want to see him in person, we would love to meet you. So keep in touch with us.Michael Jamin:Yeah, sign up at michael jamin.com/upcoming. Okay, everyone, thank you again. Thank you, Cynthia.Cynthia Mann Jamin:Thank you, Michael. I love you.Michael Jamin:I love you.Michael Jamin:Wow. I did it again, another fantastic episode of What the Hell is Michael Jamin talking about? How do I do it week after week? Well, I don't do it with advertiser supported money. I tell you how I do it. I do it with my book. If you'd like to support the show, if you'd like to support me, go check out my new book, A Paper Orchestra. It asks the question, what if it's the smallest, almost forgotten moments that are the ones that shape us most? Laura Sanoma says, good storytelling also leads us to ourselves, our memories, our beliefs, personal and powerful. I love the Journey. And Max Munic, who was on my show says, as the father of daughters, I found Michael's understanding of parenting and the human condition to be spot on. This book is a fantastic read. Go check it out for yourself. Go to michael jamin.com/book. Thank you all and stay tuned. More. Great stuff coming next week.

Gregg Berger is an American Voice / Actor, who is internationally known for his iconic roles as GRIMLOCK in G1 Transformers and Transformers Fall of Cybertron, Transformers: Devastation, Power of the Primes and more. His classic and contemporary iconic roles also include Odie, Squeak, Harry and others in the Garfield franchise, Spirit and Firefly in the original animated G.I. Joe, Mysterio and Kraven the Hunter in Spider-Man, Cornfed in Duckman, Agent Kay in Men in Black, The Animated Series, Sir Jecht in Final Fantasy, Eeyore in Kingdom Hearts 2, The Pain in Metal Gear Solid 3, The Gromble in Aaahh!!! Real Monsters, and many more including, Star Wars: The Clone Wars as Droid General Kalani, Resident Evil: Raccoon City as Harley, Guild Wars 2 as Conrad and Duggadoo, Dishonored as Street Speaker and Halo Wars as Cutter and in the Spyro Reignited Trilogy as Ripto. On camera, he had leading roles in the classic comedy Police Academy: Mission To Moscow and the Sci Fi Comedy cult classic Spaced Invaders as well as three pilots for CBS. Gregg Berger is the author of Think Globally… Act VOCALLY! (And Voice Virtue) and is the reader of the Audiobook. It is available on iTunes and Audible.com. For many years he was associated with Famous Fone Friends, making calls in requested iconic animated character voices to children in Pediatric Hospitals. As an animation voice-over talent, it's been a dog's life for Gregg Berger and that's just the way he likes it. He has been the voice of Odie the dog on Garfield since Odie has had an animated voice. He's also Squeak the Mouse, Harry the AlleyCat, Herman the Mailman and others on The Garfield Show on Cartoon Network. He also doesn't usually think of himself as a pig, but he sure enjoys playing one on TV. He is the voice of Orson Pig on U.S. Acres... as well as the voice of Cornfed Pig on Duckman. Gregg Berger is also the voice of Niles Crane's talking cockatiel 'Baby' on Frasier, and Barry The Parrot on Hot In Cleveland, The Gromble on Nickelodeon's Ahhh!!! Real Monsters! Eeyore in Kingdom Hearts2 and many of Disney Character Voices' Winnie The Pooh projects, Kraven the Hunter and Mysterio on Fox's Spiderman, Agent Kay in Men In Black, and Bill Licking on The Angry Beavers. He has careened through the galaxy as A.B. Sitter on Fantastic Max and has even had a blind date with Judy Jetson as Curly Quasar on The Jetsons (in addition to berating his favorite employee as Mr. Pinkley on Cathy). Gregg Berger's Interactive Game credits include his 2023 involvement in Squanch Games' High On Life as well as careening down the track as ODIE in Nickelodeon Racer, joining his return to the Spyro Reignited Trilogy as Ripto, Metal Gear Solid 3 as The Pain, Transformers: Fall of Cybertron and Rise of the Dark Spark as GRIMLOCK (and Lockdown in RotDS)), Resident Evil: Raccoon City as Harley, Guild Wars 2 as Conrad and Duggadoo, Final Fantasy X and X-2 as Sir Jecht, , Dishonored as Street Speaker, Halo Wars as Cutter, Spiderman Web of Shadows as Kingpin, X Men Origins:Wolverine as Fred Dukes aka The Blob, Brutal Legend as Ratgut, Star Wars: Episode One Racer and Star Wars: Phantom Menace, as PloKoon, DarthMaul, Wan Sandage, CyYunga, Kingdom Hearts2 as Eeyore, Winnie the Pooh/Eeyore Interactives, Curse of Monkey Island as Cutthroat Bill, Small Soldiers as Archer, ViewtifulJoe as Capt.Blue, Call of Duty, Legend of Kain as Turel, Gabriel Knight as Abbe Arnaud, WackyRacers.and many more. Search Gregg Berger at www.imdb.com or greggberger.net for his complete credits. You can catch Gregg at Supanova Comic-Con & Gaming 2024

This week I sit down Angry Beavers Creator Mitch Schauer Head Writer Keith Kaczorek and the Voice Of Dag Richard Horvitz to talk all things Angry Beavers! Join our Patreon: patreon.com/nmyheadpod Follow Mitch: https://www.instagram.com/mitchschauer/ Follow Keith: https://www.instagram.com/keithkaczorek/ Follow Richard: https://www.instagram.com/richardhorvitzvo/ Follow Us On Social Media: Facebook: https://www.facebook.com/nmyheadpod Instagram: https://www.instagram.com/nmyheadpod Twitter: https://twitter.com/nmyheadpod Youtube: https://www.youtube.com/c/WhatsInMyHeadPodcast/featured Spotify: https://open.spotify.com/show/3edg2bpJPr85Qwry6kzvOr?si=cfa99553ccf940bf Podcast Sponsor:WhiskeylodeonInstagram: https://www.instagram.com/whiskeylodeon/Spotify: https://open.spotify.com/show/6VoMrpz2bdfQzKF7XScdlO?si=095994c45240469dDon't forget to subscribe and follow us across all social media platforms Intro Audio By: Lakey Inspired

Ali interviews art director and background painter, Andy Clark, who shares about his experience on many shows such as Dexter's Laboratory, SpongeBob SquarePants, The Angry Beavers, ChalkZone, Seth MacFarlane's canceled The Flintstones project, and more. He also provides a lot of valuable insight about the current state of the animation industry and offers pertinent career and life advice.

Support us on Patreon! Patrons have access to the NOTLP Discord Server, weekly virtual meetups with the hosts, ad free episodes and tons of other great content. Halloween TV Specials part 3! Listener Trevor Tranter's picks Animaniacs - "Dra-cul-Lee, Dra-cul-aaa/Phrankenrunt", Spongebob Squarepants - "Scaredy Pants/I Was a Teenage Gary" and The Angry Beavers - "The Day the World Got Really Screwed Up". Freddy reviews Sorry, Charlie for Straight-to-Video Russian Roulette.  This podcast is brought to you by the Legion of Demons at patreon.com/notlp. Join the Legion to for an ad free experience and more stuff! Patreon.com/notlp!   Our Beelzebub tier producers are: Alise Kombrinck Ernest Perez Jeremy, Cassie & Gamora Burmeister Jeff L Iona Goodwin Branan & Emily Intravia-Whitehead Bill Chandler Blayne Turner Monica Martinson Paul Gauthier Brian Krause Alyssa Boehm Dave Siebert Joe Juvland Dustin Chisam “Monster Movies (with My Friends)” was written and performed by Kelley Kombrinck. It was recorded and mixed by Freddy Morris. Night of the Living Podcast's chief contributors are:  Andy Hung Kelley Kombrinck  Amy Morris Freddy Morris The podcast is produced and engineered by Amy & Freddy Morris.  Night of the Living Podcast Social Media:      facebook.com/notlp twitter.com/notlp instagram.com/nightofthelivingpodcast youtube.com/notlpcrew Connect with other listeners in the Facebook Group or on Reddit: https://www.facebook.com/groups/notlp https://www.reddit.com/r/NOTLPodcast

It's okay to be weird. It's totally cool ... seriously though! Think of all the strange cartoons from back in the day. "Ren & Stimpy" was WEIRD. "Spongebob Squarepants" was WEIRD. "Rugrats," "CatDog," and "The Angry Beavers" were all super WEIRD. And, let's face it, the creators of those incredibly iconic and innovative shows must have been pretty odd, but we love them for that. Today's guest has been a fan of all those cartoons since she was a kid, and those weirdo (genius) creators have since inspired her to pursue her artistry. Carly Berry is a talented artist, graphic designer, and entrepreneur. She's the Founder of it's not that weird, an online store featuring her graphic designs on shirts, tote bags, stickers, and magnets. Carly tells Gerard about her favorite 90s cartoons and how they've influenced her illustrations and personality. Plus, she explains how she made "one second every day" videos for 6 years! Listen in and learn something new today. Host: Gerard Legagneur Guest: Carly Berry of it's not that weird Links: Follow Carly on Instagram | TikTok Link: One second every day video playlist DONATE: Gerard's Guitars Over Guns fundraiser! Visit The Fresh Mix Website: FreshMixPodcast.com Follow The Fresh Mix on Social Media: Instagram | Twitter Email the Show: FreshMix@FloridaPodcastNetwork.com Executive Producer: Jaime Legagneur Lead Content Producer: Amber Amortegui Additional Support Provided by: Listeners Like You and Flint Stone Media ------------------------------- Production House: Flint Stone Media Partner with FPN: Become the voice of YOUR segment of Florida!! From sponsoring episode segments through creating and growing your own branded show, we have the solution to promote you while we promote Florida! FPN Media Kit We are currently boarding shows to build out our network. And, you don't want to miss ANY of the new hosts and podcasts were have joining us. Search for and subscribe to “Florida Podcast Network” on iTunes and all your favorite podcast players to get more of this and ALL our shows. Become a Patron: Have a suggestion for the Network? Join us in the FPN Insiders group on Facebook and let us know!    FPN:  Check out the other shows on the Florida Podcast Network

It's okay to be weird. It's totally cool ... seriously though! Think of all the strange cartoons from back in the day. "Ren & Stimpy" was WEIRD. "Spongebob Squarepants" was WEIRD. "Rugrats," "CatDog," and "The Angry Beavers" were all super WEIRD. And, let's face it, the creators of those incredibly iconic and innovative shows must have been pretty odd, but we love them for that. Today's guest has been a fan of all those cartoons since she was a kid, and those weirdo (genius) creators have since inspired her to pursue her artistry. Carly Berry is a talented artist, graphic designer, and entrepreneur. She's the Founder of it's not that weird, an online store featuring her graphic designs on shirts, tote bags, stickers, and magnets. Carly tells Gerard about her favorite 90s cartoons and how they've influenced her illustrations and personality. Plus, she explains how she made "one second every day" videos for 6 years! Listen in and learn something new today. Host: Gerard Legagneur Guest: Carly Berry of it's not that weird Links: Follow Carly on Instagram | TikTok Link: One second every day video playlist DONATE: Gerard's Guitars Over Guns fundraiser! Visit The Fresh Mix Website: FreshMixPodcast.com Follow The Fresh Mix on Social Media: Instagram | Twitter Email the Show: FreshMix@FloridaPodcastNetwork.com Executive Producer: Jaime Legagneur Lead Content Producer: Amber Amortegui Additional Support Provided by: Listeners Like You and Flint Stone Media ------------------------------- Production House: Flint Stone Media Partner with FPN: Become the voice of YOUR segment of Florida!! From sponsoring episode segments through creating and growing your own branded show, we have the solution to promote you while we promote Florida! FPN Media Kit We are currently boarding shows to build out our network. And, you don't want to miss ANY of the new hosts and podcasts were have joining us. Search for and subscribe to “Florida Podcast Network” on iTunes and all your favorite podcast players to get more of this and ALL our shows. Become a Patron: Have a suggestion for the Network? Join us in the FPN Insiders group on Facebook and let us know!    FPN:  Check out the other shows on the Florida Podcast Network

Long before George and I decided to reboot this podcast, I did this podcast on my own with an occasional guest host. Eventually all 31 original episodes will be uploaded and archived here. Please Follow us on Twitter @retro_roundup Feedback is always appreciated good or bad --- Support this podcast: https://podcasters.spotify.com/pod/show/retro-roundup/support

A tale of two brothers... brothers who love horrible movies, engage in bizarre misadventures, and sound like Salem the Cat and Zim. The Angry Beavers debuted in 1997, with the Nicktoons era in full swing, and proceeded to absolutely annoy the president of Nickelodeon, and then be overshadowed by that pineapple-dwelling fellow two years later. Now, over 20 years later, James introduces Pemmy to this cult classic series. He may never forgive him. (We're kidding, he has fun!)

Helluva Boss, Angry Beavers, The Grim Adventures of Billy & Mandy, and Invader Zim himself - Richard Horvitz joins us breaking the industry and his genius down for everyone. He is one of the most brilliant comedic performers in the animated world and learning from here was unbelievable. https://www.richardhorvitz.com/ https://twitter.com/RichardHorvitz Support from our Sponsors: ---------------------------------------------- * For 15% OFF your subscription to Voice123 visit: * https://www.Voice123.com/plans/pox * FREE SHIPPING on all TURTLE BEACH / NEAT MICROPHONE orders * https://www.dpbolvw.net/click-100595441-14299609 * FREE SHIPPING on all ROCCAT orders * https://www.dpbolvw.net/click-100595441-14525775 * For 10% off VOICE STRAW visit the link below! * https://voicestraw.com/discount/POX10?ref=c33e2x1zok * For 10% off RIVERSIDE.FM SUBSCRIPTION visit the link below! * https://riverside.fm/?utm_campaign=campaign_1&utm_medium=affiliate&utm_source=rewardful&via=Pox ---------------------------------------------- Please subscribe and follow us on all social media and enable notifications on all podcast platforms! https://www.PointsofeXperiencePodcast.com ---------------------------------------------- Questions? Email Info@pointsofexperiencepodcast.com Instagram: https://www.Instagram.com/PoXPodcast Twitter: https://www.Twitter.com/PoXPodcast Facebook: https://www.Facebook.com/PoxPodcast TikTok: https://www.TikTok.com/@PointsofeXperience ---------------------------------------------- Original Music by: SkaneMusic - https://www.instagram.com/skane.music/ Edited by: Keith "Neku" Lawson - https://twitter.com/OzmaNeku

Episode 23 his week on Small Screen 90s Barnes and AMJ start there epic task to rate every 90s TV show out of 90. Bear with us it's not as shit as it sounds This week's TV shows are The Angry Beavers No Sweat Spaced Stars In Their Eyes What is this then ? Each episode Chris Barnes and AMJ (The King of Comedy ) sit down to rate 90s TV shows out of 90 and they won't give up until every single TV show is rated. Is this pointless yes Get bonus content on Patreon See acast.com/privacy for privacy and opt-out information.

For everyone that ever had a sibling that was annoying AF, this episode is for you! Between the constant fighting and torturing from Angry Beavers, to just wanting to get away and have autonomy like in Catdog, this is episode has it all! Just like the whiskey we're enjoying: Noble Oak: Double Oak Bourbon.  Support the show

SMASHING!!!On this episode, we talk about the cartoons of our childhood: NICKTOONS. We break down the twelve most iconic Nicktoons from the 1990s and try to predict which one you'll vote for to be crowned the best. Tangents include but aren't limited to: growing up in Pittsburgh (always), our brothers, and for the briefest moment, The Beach Boys!Voting Schedule:Play-In Round: Monday 6/27 & Tuesday 6/28 (until 2 pm PST)Elite Eight: Tuesday 6/28 & Wednesday 6/29 (until 10 pm PST)Final Four: Thursday 6/30 & Friday 7/1 (until 2 pm PST)Championship: Friday 7/1 & Saturday 7/2 (until 10 pm PST)Winner Reveal: Monday 7/4 on a brand new episode of the podcast!Vote here, football heads! ★ Support this podcast on Patreon ★

Episode 10 (00:00) Daijōbu(00:39) Episode 10: Celebrating a milestone(01:45) Anime(03:45) Cartoon Network Toonami(05:00) Dragon Ball Z(06:10) Mike C.? or Yamcha?(08:02) What's considered Anime?(08:56) Anime definition(09:17) Manga definition(10:50) Who is your favorite Pokemon(14:20) Dungeons and Dragons(15:15) Netflix Adult Animation(15:36) Netflix: BoJack Horseman(17:06) Netflix: F is for Family(17:20) Netflix: Big Mouth (18:54) Netflix: Human Resources(20:40) Hulu: The League (21:26) Daniel Tosh(21:50) Hulu/Tubi/Prime Video: Brickleberry(22:12) Netflix: Ali Wong Comedy Specials(23:02) Netflix: Chicago Party Aunt(24:25) Snack of the day: Girl Scout Cookies(26:00) Mike C. hates on thin mints (26:40) HBO Max: Rick and Morty(28:40) Mike C. Approves of Family Guy(28:48) Comedy Central/Hulu: South Park (29:10) Mike C. hates on the Simpsons(29:25) Hulu: King of the Hill(30:23) Nickelodeon classic cartoons(31:45) Fox: Bob's Burgers(33:30) Hershey Park contest reminder(34:00) Episode Recap: Dragon Ball Z, Pokemon, Digimon, BoJack Horseman, Big Mouth, Human Resources, Brickleberry, Family Guy, Futurama, South Park, King of the Hill, SpongeBob SquarePants, Rocko's Modern Life, Rugrats, CatDog, Angry Beavers, Rocket Power, Bob's Burgers, Archer, (35:20) Shoutout Mom(39:25) Thank you for supporting your local podcast

Spotify playlist for this episodeQuiz: Barry White in Angry Beavers. Barry White in The SimpsonsReviews:Josh reviewed ‘Skinty Fia' by Fontaines D.C.Asher reviewed ‘Music Has The Right To Children' by Boards of CanadaHomework:Asher gave Josh ‘Spasm Smash Xxxoxox Ox & Ass' by Trumans WaterJosh gave Asher ‘The Midnight Organ Fight' by Frightened RabbitHonourable mentions:Dungeon ItemBjéarHalf-Handed CloudArcade FireThe Lounge SocietyJulia Jacklin DawesChristian-Lee HutsonThanks for listening! - Josh and AsherWWLT

He's the voice of Billy in "The Grim Adventures of Billy and Mandy", Daggett in "The Angry Beavers", Alpha 5 in "Mighty Morphin Power Rangers", Zim of "Invader Zim", and so much more. We welcome actor Richard Horvitz this week and had a great time hanging out with him. We discuss some of Richards early roles, his theater work, experiences with Alan Hale Jr. and Bill Murray, how he came to voice Alpha 5, and more. We then end by tearing apart the Disney Star Wars Trilogy and enjoy every minute of it. You don't want to miss this one! RichardHorvitz.com Twitter: @RichardHorvitz Instagram: @RichardHorvitzVO CannedAirPodcast.com Twitter: @CannedAirPod Instagram: @Canned_Air If you'd like to show your support, you can either visit our Patreon page at Patreon.com/CannedAirPod or you can leave us a review on iTunes! Thanks for listening! Learn more about your ad choices. Visit megaphone.fm/adchoices

It's the 25th anniversary of The Angry Beavers! Patricia invites the crew members of the show who made all the craziness and zaniness happen. They also answer fan questions, look at fan art, and watch videos from the fans congratulating them on 25 years. Cast and crew appearing on the livestream consist of: Mitch Schauer- (Creator, Executive Producer) Keith Kaczorek- (Writer, Story Editor) Robert Hughes- (Writer, Animation Director) Patty Shinagawa- (Animation Director) Michael Ceballos- (Character Designer and Supervisor) Micah Wright- (Writer) Arpi Krikorian- (Storyboard Revisionist) Chelsea Schauer- (Daughter of Mitch and the voice of Chelsea Beaver, the sister of Norbert and Daggett). --- Support this podcast: https://anchor.fm/old-school-lane/support

Nickelodeon dominated our childhood, so we thought it'd be fun to talk about Nick's best Animated TV Shows of all time! Included in the list are SpongeBob SquarePants, Doug, Hey Arnold!, Rocket Power, Rugrats, Rocko's Modern Life, Ren & Stimpy, CatDog, AAAHH!!! Real Monsters, The Fairly OddParents, Angry Beavers, Invader Zim, Avatar: The Last Airbender, The Wild Thornberrys, The Adventures of Jimmy Neutron, Boy Genius, and Chalk Zone!

This week the boys have plenty of wrestling talk with Triple H officially retiring from in-ring competition, Shad Gaspard receiving the Warrior Award, MJF Loves WWE, Blackpool Combat Club, and more! We've also got a bit of tv talk with Dark Side Of The 90's on Hulu. We've got a bit of Toy Talk with Mattel Creations WWE Retros Cowboy Bob Orton. And we have another tournament match for the 90's TeleWAR as we see Angry Beavers up against Kenan & Kel.

Nick Bakay, best known for voicing Salem in Sabrina the Teenage Witch and Norbert in Nickelodeon's The Angry Beavers, talks about his fascinating career in the entertainment business beginning with Night After Night with Allan Havey and The Dennis Miller Show, all the way to executive producing the hit TV series Mom and Young Sheldon.  --- Support this podcast: https://anchor.fm/dunklevision/support

Join the gang as they get in a heated discussion over fighting a kangaroo or a badger. Also, ken just got a big gift for valentines day! Make sure to tune in every Thursday for a funfilled conversation!

Being eggsexual, gay baby Michelle, and the Angry Beavers tumblr aesthetic. This week Michelle and Abigail watched the Fat Albert movie so you don't have to. They take a quick dive into the films lore, goofy characters, and wholesome moments

Actor Richard Horvitz kicks of Season 2 of The Working Writer Podcast! Richard is a world-renowned voiceover artist and actor with more than 200 credits to his name. From working in sitcoms in the early 80's to animation such as Invader Zim, Angry Beavers, and Billy and Mandy (for which he wrote two episodes), Richard is a seasoned pro who works the jobs he loves (see today's YouTube hit Helluva Boss). He also conducts a class which will teach you how to tell your story whether you're an actor or a writer. Write to Richard for more information at richardhorvitzclasses@gmail.com. Follow the Working Writer Podcast at our Facebook page www.facebook.com/workingwriterpodcast. Email us at workingwriterpodcast@gmail.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/brad-staggs/support

The Storm Skiing Podcast is sponsored by Mountain Gazette - Listen to the podcast for discount codes on subscriptions and merch.WhoRoger Arsenault, Chairman of the Board of Directors, and Deanna Kersey, Marketing Manager, Black Mountain of MaineRecorded onDecember 13, 2021Why I interviewed themThere may be no ski area in America that better tells its story through trailmaps than Black Mountain of Maine. The humble 470-foot bump, T-bar climbing up the incline, circa 1980:It didn’t look much different 22 years later:But prior to the 2004 season, Black finally strung a triple chair to the summit. The T-bar stayed, but the mountain ran a new clutch of trails down a full 1,136 vertical feet:By 2011, the mountain had expanded skier’s right:Then onto hike-to terrain skier’s left, taking the full skiable vertical drop to 1,380 feet:Then Black Mountain began acknowledging the voracious work of the Angry Beavers, which had quickly become the most legendary glading corps in New England:And here it is today:Has any other ski area in New England transformed its footprint so dramatically in the past two decades? Maybe Saddleback, which undertook a similar clandestine re-ordering under the Berry family. But that was an already-big ski area trimming its edges. Black was a tiny mountain that morphed into a mid-sized one, and like leaves filling out the forest in springtime, no one even noticed until it was there. Hell, no one has noticed yet. How did Black do it, and what was next? I had to find out.What we talked aboutWho owns and operates non-profit Black Mountain of Maine and how it raises funds; how to give back with nothing but time; snowmobile races; surveying the Maine ski scene; how the Maine Winter Sports Center saved the ski area; how the ski area transformed from a 400-foot-bump at the turn of the century to a mid-sized ski area with three times the vertical drop and an ever-expanding trail-and-glade network; transforming the public narrative around Black Mountain; how megapasses are driving skiers to smaller ski areas; how the local skiers responded when the town suspended the ski area’s funds one year; the Angry Beavers and the ski area’s astonishing glade network; the logic of green-circle glades; Black’s unique trailmap; the gradual and understated expansion of Black’s trail network; whether we could see more trails cut off Bagaduce; Black’s unique Osekare uphill trail; possible future expansion; what a Bagaduce chairlift could look like; why the ski area is rarely crowded even when the parking lots are full; potential enhancements to the current summit chairlift; why Black doesn’t have a beginner carpet and is unlikely to get one; why the ski area only offers public night skiing a handful of days per year; $15 Thursday lift tickets and $25 Friday lift tickets sponsored by L.L. Bean; why Black’s season passes remain so cheap; Indy Pass and potential reciprocal partnerships; private mountain rentals Monday through Wednesday and how much they cost; and how 2021-22 Covid protocols will differ from last season and what will be the same.Why I thought that now was a good time for this interviewAt this point, I think we’re all a little fried: $269 lift tickets, 900-resort Epimegas, liftlines wrapped around the planet. It’s fun to complain about, but not that much fun to do. And you don’t have to. The NSAA says there are 462 U.S. ski areas. Seventy-two are on the Epkon passes. Ninety percent of the rest of them have chairlifts flapping in the breeze. Maine is a big ski state without a lot of big ski areas. Sunday River, Sugarloaf, Saddleback – all excellent. But they’re not everything. Abram and Shawnee Peak are there too, and then there’s Black, which has quietly become the fourth largest ski area in the state. And no one talks about it, no one knows about it. This is your release valve. You’re welcome.Why you should ski Black Mountain of MaineHere it is: the mountain we all say we want to ski: out of the way, unknown, funky, independent, cheap, rowdy, unforgiving, made for and by skiers. Thursday lift tickets are $15. Fridays are $25. A season pass is approximately the cost of a Burrito Supreme. This is Europe in the 1970s. Costa Rica 15 years ago. A bargain now but bound to blow up because how can it not? It’s half an hour down the road from Sunday River, a natural overflow point, the place you go when you’ve had enough and you just say “goddamnit.” What more could a skier want? The answer is nothing. A mountaintop triple chair at the end of the road, in the back of the woods, like you turned left off US 2 into 1964. And you know what? Maybe you did.More Black Mountain of MaineLift Blog’s inventory of Black Mountain of Maine’s lift fleetHistoric Black Mountain of Maine trailmaps on skimap.orgMore about the Libra Foundation, which oversees Black Mountain of Maine Subscribe at www.stormskiing.com

Michael Jamin & Phil Hudson discuss the reason they started this podcast, how Michael got his start, and the biggest mistake most new screenwriters make when approaching Hollywood.Show NotesMichael's Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeWriting for Dough: Adventures of a T.V. Comedy Writer Paperback – May 1, 1989, by Bill Idelson - Non-Affiliate Link - https://www.amazon.com/Writing-Dough-Adventures-Comedy-Writer/dp/1556660367Michael Jamin on IMDB - https://www.imdb.com/name/nm0417157/Michael: (00:00)I wasn't critiquing her story. I was saying, okay, if this is the story you want to tell, this is what you need to do. I wasn't telling her whether it was a good story or a bad story. I wasn't like that, that, you know, that's subjective. I said, if this is the one story you want to tell, this is what it needs. And at the end of our, we talked for about an hour. It was like she had witnessed a magic trick. You're listening to screenwriters need to hear this with Michael Jen. So today's episode, we're talking about breaking into the business, how I got into the business and how this whole podcast even started. So I've been a professional TV writer for 26 years and fell here. My podcasting partner, he's been bugging me for years to start an online screenwriting course, to tell everyone how, what I've learned, you know, as an opportunity.Phil: (00:50)Well, selfishly, I should add, like, this is something I wanted for myself. And so kind of like tickets to a step back here too. I have probably paid for every screenwriting program on the internet, and I've been doing that for the last decade. And then I went to film school and got a bachelor's degree specifically in screenwriting. And I still feel like I've learned more from private lessons from you, or just off-the-cuff emails you sent to me reviewing something or giving me notes. And so when I say I've been begging for this course, I remember sitting in my car, it was on a business trip to Utah. And back in 2015, maybe you need to, you need to do a course on screenwriting. And I wanted this. I, it,Michael: (01:30)I was surprised that you hadn't learned any of this in film school. That's what always shocked me. I was like, well, what are you, what are they teaching you there?Phil: (01:36)You know? And, and I think for most people, you know, I consider myself an autodidact, meaning I, I teach myself things. And when I went to film school, it was more of a networking thing through, you know, being a Robert Redford scholar and trying to get somewhere ends in the Sundance independent community. But a lot of the things that they teach in film school match up with things that I learned in these other paid courses and things that I take taken online or in screenwriting books. And so for a while, I was like, oh yeah, this must be what screenwriting is. And then I remember, you know, to kind of give some background on how we know each other. I worked at a digital marketing agency and I was actually the account manager for your wife's online business. And I never met you over the course of several years.Phil: (02:18)And there was at one point, your, your wife was like, oh, my husband, Michael is going to be getting on the call while he waits for his next show to start off, he's going to help me out with marketing. And she didn't know that I'd been wanting to be a screenwriter for this whole time and taking these courses. And I remember I said show, and she's like, oh yeah, he's a, he's going to be running mark Marin's new show. And I was like, okay. And I looked her up and I was like, oh, she's an Angry Beavers, which I grew up at real monsters. And she's an actress. I had no idea. And you, you know, it just goes to show, you never know anything about anybody. You can't just judge a book by its cover at all. And then you were, I guess at some point I had generated enough Goodwill with you through her that you were like, oh, I was like, we got our car.Phil: (03:01)I was like, I'm trying to break in. And you're like, I'm trying to break out like just a funny comment and say, you sent me some screenwriting books and got me a subscription to the writers Guild magazine, which was very helpful. And then I just remember the first email you sent and you're like, what's the definition of a story? And I gave it to you. And you were like, I think I said, uh, it's about someone who becomes a, someone who goes through trials and ends up better in the end. And you were like, what about king Lear? He goes nuts. Right? And I was like, oh, I know nothing. That was about the point when I was like, I have learned nothing over all of this time learning formatting and how to use the software. So it that's kind of about the time it clicked as well. But these people who are teaching things may not actually be teaching what the industry considers to be crafted. Yes.Michael: (03:45)That's it cause like, I, I didn't go to film school. I don't know many writers or any that did go to film school. So w like film school is a mystery to us. I don't know why people go, I don't know what they're teaching. And then I, I suspect that it's being taught by professional teachers and not by actual TV writers or screamers with a lot of experience,Phil: (04:05)You know, I had, I had maybe one or two really good screenwriting professors in my bachelor's program. And like, one of them wrote some major hits in the eighties. He's a worker, he was a working pro and he was legitimate. We were on a working campus. So like there were stages and they shot the show, Longmire. So we had the opportunity to have the showrunners of Longmeyer come in and speak to us. Those were probably some of the best things about going to film school. For me, I think a lot of people who want to learn camera work and want to learn how to, what it means to, you know, run a, run a set from a PA or a first director or to direct, I think there were a lot of benefits in that regard, but from a writing perspective, not a lot, man, my TV writing class, we wrote one spec script, the entire S like the entire semester, which seems like a lot, but it's not when you're a writer. Right. Right.Michael: (04:54)Well, and that was, that's what led you were like, Hey, put together a course and I just didn't have the time or desire, but then the pandemic hit and I had, you know, Hollywood shot. I was like, this is gonna, we're all gonna be hiding under beds for a year. And I just knew it was going to shut down the industry, like immediately. So, and it did for me, for sure, everyone, like, we just had nothing to do. So I had all this time and I was like, all right, I'll put together this course. And it took a couple of months. Uh, and so that we put together a course. And if anyone's interested, its at MichaelJamin.com/course. But from the people who signed up for it, they kind of became rabid and they just wanted more and more stuff. And then,Phil: (05:33)So lots of questions. We were doing webinars. We were breaking down case studies of stories and, you know, my technical background, I kind of step in and facilitate a lot of the technical side of this. So I saw a lot of those questions and, uh, met up with some of the members of the course that have been traveling. And yeah, it's just a lot of the same stuff. There's a lot of things people don't know. And I'm, I'm low man on the totem pole, right? I'm a, writer's PA and a PA in other regards, but I've had the ability to sit in that outside of the writer's room and in the writer's room on a few occasions, and it's just a different world. So you know that the ability to learn things in a course for me to see what you look for as a showrunner and craft what your perspective is on selling a pilot and you know, that probably not going to happen. It could, but it probably not. And so what should you focus on craft and what is craft and how you actually work on your story and what elements belong to us. Right. Those are things I didn't learn in a four year program. I had learned in other online programs. And so there's a lot of value that came from that, but there are also a lot more questions, Ryan. And I think that's kind of led to your social media stuff.Michael: (06:39)I started posting on social media and, you know, on Instagram and anyone listening to go follow me there @MichaelJaminWriter. But then, and then it became, okay, well, the next step was, people would just want her to be her more, um, like, uh, so that became, this became the podcast. And all this stuff is like, uh, the course is really the nuts and bolts of had, okay, how do we literally, right? How do we become, how do we break it down as if you were in the writer's room as if you are working for me, this, this is exactly the steps we take every day to turn an idea into an episode of television. And the podcast is more, um, kind of peripheral stuff about, you know, stuff, you know, how I got into the business, how you can get into the business and, uh, little things that are not quite so writing centric, but more,Phil: (07:22)There's going to be some of that, but it's really, there are a lot of questions, people asking. And what I've noticed from reading through your social media comments, cause you had some stuff on Tik TOK at like half a million masks known as a 400,300,000 on one, 200,000 on another. And a lot of the questions people ask are these same exact questions. Lots of people are asking these exists in resources. Like this podcast is not the only place where you can get to see a lot of this information. There's script notes, podcasts, a bunch of other really good places where you can have actual working writers teach you great, valuable stuff. But in general, there are a lot of very specific questions aren't that aren't being answered and things that I wish I would have known earlier. Right. Which, which gives us the opportunity to talk about it from those two perspectives, you 26 years in and me a decade plus into my writing attempts and still learning every single day and learning what I don't know now that I'm sitting adjacent to writers and writers.Michael: (08:17)Right. Right. So I guess we'll talk about, um, kinda how I got, how I got into the business. Like I said, I didn't go to film school was my childhood dream when I was first question cheers, uh, on, uh, you know, Thursday nights on NBC. I was like, I want to be the guy who writes the lines for norm. Like, I didn't realize like the one writer writes the entire script. I just felt like maybe there was a writer who norms limes and there's a different writer who does Diana. Like I had no idea, no clue. And so, um, that was my goal. And after college I graduated college, like two weeks later, I got my wisdom teeth pulled cause I had, um, I still had insurance. Then I got into my car and I drove from New York all the way to LA didn't really know where I was going to stay. Uh, and then I found a roommate and, and uh, that's kind of how I broke into the business. Um, just kind of like hustling and, and begging and sending out.Phil: (09:10)So let me ask you come from an economically wealthy background.Michael: (09:14)Yeah. Yeah. And, and you are impoverished, you grew up on the other side of the spectrum. Yeah.Phil: (09:19)Yeah. I grew up, um, you know, food stamps, social security welfare. Did the foster home thing as a kid for awhile. Yeah. I was definitely on the other side, but I it's interesting because since I was 18 years old, I've really focused on personal development, what people might've called self-help and there are a lot of excuses that people will come up with about what it takes to break in. And then I think this is one of those, which is you have to be wealthy to break in, but I know plenty of writers who did not come from a wealthy background. Yeah. Yeah.Michael: (09:51)I mean, it was like, I didn't have to worry, you know, I just didn't have to worry about certain things. But when I got out here, I got, I got a job. Like I, you know, it wasn't like I was getting checks every day from my parents. We were scooping ice cream. I was working at Humphrey yogurt and uh, yeah, there's a yogurt store. Um, and so I did that. And then, um, yeah, then I finally got Phi was my first PA job. I think I was making $300 a week. And,Phil: (10:15)And then I'll make it a little bit more than that in 2020. All right.Michael: (10:19)And we won and I mean, it's interesting. So it's like people say, well, you, it, you know, at least back then, and it's true in LA in Los Angeles, when I was making money, I moved up to PA where I was making maybe $400. We can $400 a week allowed me to get a studio apartment where I could live by myself for, you know, cause it wasn't that expensive. My rent was maybe 600 a month and now you can't in LA you can't get anything near that. So you have to get roommates. Right. So yeah,Phil: (10:46)I had five roommates at one point in the house. I still live in the same house. I'm married now with a kid. And you know, I had to build a bunch of businesses to establish myself. This was all part of a fricking ten-year plan to make it to LA and be able to do this. And so I get like, there are economical difficulties to hold you back, but there are ways to make it happen. Yeah. So I had an extra income that comes in from businesses that I own that, but I also have PA money that comes in to help me out and I can live in LA on peace at PA salary. I have proven that we had five roommates in a four bedroom, three bath house out in the middle of the valley. And my rent was like six 50. Right.Michael: (11:23)Split. So yeah. It's can be done. I mean, I get it. I get, it was easier for me back then. But on some ways it was difficult, more difficult because there was no, this is 1992. There was no internet. And I couldn't even the idea of becoming a television writer was like, well, I didn't know any TV writers. I didn't know anyone who was, I didn't like now you can go on the internet and you'd get all the, there were no, you know, there are no podcasts you, I had, all I knew was if I wanted to work in Hollywood, I better be in Hollywood and then I'll figure it out. But now it's like, you can live across the, and get all this content like this podcast for free and you can learn so much without ever leaving your bedroom, you know? Yeah.Phil: (12:00)Yeah. And one of the things you talk about in your course not to bring it up again, but I think is really valuable is you have to live in LA because that's where the writing happens, but you don't have to live in LA to practice your craft that's right. Right. And in some of the first advice you gave me is you need to be in LA because when they need someone, they need them today. And if you're not here today, they'll just call the next guy in line or the next girl in line. And there's 10,000 of those people. Right. Right. Right. But being here helps. And you know, the show I work on now that you work on as well, that's happened because I was available that day. Right.Michael: (12:33)And to get to your point about your craft, like, it doesn't really matter. Like if you, if you're not ready, if your, if your writing isn't at that level, it doesn't matter if you, if you have a, if Steven Spielberg owes you a favor, you know what I'm saying? Like, if you can get your script in Spielberg's hand, if the script is no good, it's not going to do what there is. Does it make, so it's not really about who, you know, it's about, are you writing at the right level before who, you know, and, and most people skip that, but everyone's like, why they say like, how do I get my script in the right hands?Phil: (13:03)Oh, I have a personal story for this. Oh, we, I don't think we've ever talked about, but I had a roommate. His dad was a college roommates with a pretty prominent, I mean, like very prominent, uh, show runner here in LA. I'm trying to anonymize this a little bit. Right. But when you think showrunners, you think of this guy and it was his brother. And so he got to sit in the writers room over a summer as an intern and literally sit in the writer's room every day with this person. And then he said, when you have a script ready for you to see send it. So he sent it to the show runner and he blew his shot because was the, a script he set wasn't. First of all, the script is that wasn't even related to the tone of what the showrunner writes. And number two, it was not ready. He didn't have enough peer review. You could even say, let alone have the craft skills. Right. And people that he lives in Colorado. Now he moved homeMichael: (13:54)Blue shot. Right. And that's a shame cause everyone thinks their script is ready. I guarantee you. And I thought when I was young, I thought my script was right.Speaker 3: (14:04)Hi guys, Michael Jamin here wanted to take a break from talking and talk just a little bit more. I think a lot of you guys are getting bad advice on the internet. I know this because I'm getting tagged. One guy tagged me with this. He said, I heard from a script reader in the industry. And I was like, wait, what? Hold on, stop. My head blew up. I blacked out. And when I finally came to, I was like, listen, dude, there are no script readers in the industry by definition. These are people on the outside of the industry. They work part-time. They give their right arm to be in the industry. And instead they're giving you advice on what to do and you're paying for this. I mean, it just made me nuts, man. These people are unqualified to give my dog advice. And by the way, her script is it's coming along quite nicely.Speaker 3: (14:43)And Owen, I'm not done. Another thing. When I work with TV writers for a new one, I'm writing stamps. A lot of these guys flame out after 13. So they get this big break. They find it to get in and then they flame out because they don't know what is expected of them on the job. And that's sad because you know, it's not going to happen again. So to fight all this, to flush all this bad stuff out of your head, I post daily tips on social media. You can find me on Instagram and Tik TOK and Facebook @MichaelJaminWriter. If you don't have time, two minutes a day to devote towards improving your craft guys, it's not going to happen. Let's just be honest. So go find you make it happen. All right. Now, back to my previous.Michael: (15:25)And so the people ask the question like, well, how do I get my script into the right hands? And I made a post about this few weeks ago and it kind of blew up and it was like, wow, that makes sense. My point is, you shouldn't ask your, you shouldn't ask, how do we get my script into the right hands? You should ask, how do I write a script so good that it doesn't matter whose hands it falls into. And that's honestly the truth because it's like you write a script and it's great. And then someone, you know, you give it to a friend of a friend or a friend who knows someone who's in the business. They'll read it. And they go, oh, this is really good. I'm going to pass it up the ladder because I knew because I, you know, if I I'm doing that person a favor, I'm giving them something.Michael: (16:00)That's amazing. They're going to thank me for this gem that I gave them. And then it's going to finally align someone's hand. Maybe that person is a producer. And that person is going to read and say, listen, I can't do anything for this script, but you are an immense talent. And I want to work with you. Not because I'm trying to help you, but because I'm going to make money off of you. I'm going to exploit you. I mean, you're going to be a great me. I'm going to explore you because I need what you have. And, and now it changes the whole power dynamic. Instead of you begging how do I get my script to the right end, begging people to read it. Now, people are begging you to work with you because you have something of value, but everyone skips that step. Everyone's like, but I already got, I know how to write.Michael: (16:41)I know how to hold the pen. Therefore I know how to write, or I know how to watch a movie. Therefore I know how to, uh, re you know, re uh, write a movie, which is, of course, it's just not like, it's a skill. It's like, I look at screenwriting as a craft and you have to learn your craft. It doesn't, I wasn't born with this. I believe in my first CRISPR, terrible. I had to learn all this. And so what I learned in this course is stuff that I learned from working from writers who were way more downloaded, one more successful than I own like Steve Levitan and Chris Lloyd and, and Greg Daniels, like all this stuff, they just passed down to me because I was on the writing staff. And, and then I eventually became a show writer. And I kind of have, I approached story a little bit differently than they do.Michael: (17:17)That's not, that's not to say better or worse. It's just, I approach it a little differently. And would you call that voice? Is that what, when people say the term voice, your voice is different. Every writer has a different voice, but it also, in terms of how they approach story, um, everyone kind of, I find different writers. Some writers are a little more intuitive and I don't like they just know in their gut, like, they're just born with that gift. And I wasn't born with that gift. So I have to, I have a process that I use and that I teach. It's like, it's the process that I use because I, I'm not a natural born storyteller. Some people are. And, but, but of like, um, like those people are very rare. I think.Phil: (17:53)So w what I'm hearing you say, as someone who, you know, has been told, I had writing talent, but felt very unfocused is that I can learn to focus the tone I have through that process. Yeah. Right. That's a learnable. It's not, uh, you know, a God given gift that you just have. You're not some innate thing that evolution gave you. You can learn something, you can learn how to do this. Yeah.Michael: (18:16)And it's funny. Cause I had, uh, uh, a friend of the family was here a week or two ago and, uh, she's working on, uh, on a play. And so she stuck, she's been working on this for months and she stuck and she wanted to bounce it off of me. And I go, okay, just tell me the story. And I kept on interrupting her. No, no, no, no. That doesn't mean that doesn't. And at the end, cause she was, she was blocked and the end, I go, okay, well here's your story. This is what you need here. Bottom back one. This is what you need. Here's what I, here's what I would do. And it wasn't like, I wasn't telling her, I wasn't critiquing her story. I was saying, okay, if this is the story you want to tell, this is what you need to do.Michael: (18:56)I wasn't telling her whether it was a good story or a bad story. I wasn't like that. That's, you know, that's a subjective. I said, if this is the one story you want to tell, this is what it needs. And at the end of our, we talked for about an hour. I, it was like, she had witnessed a magic trick when I, and it was very easy for me. It was like, oh, cause I do this every day. But she was like, wow, that helps that. Thank you so much. Now I know how to proceed. And I hadn't critiqued it. I didn't say whether it was good or bad. I just said, these are, this is what you need to do to tell this one story, you know?Phil: (19:24)Yeah. Yeah. I've experienced that with you as well. Um, I think you came over to my house to help me out, to break a feature on a whiteboard that I had in this office at one point. And it was like the same thing. It was just like literally watching like a master work. You know, I consider a craft to be like, I'm a carpenter. I can see like, look at me. Like I have a saw and I have a hammer and I have nails. Can I make a cabinet in theory? Yes. But is that a cabinet? Someone's going to want to pay $10,000 to do an accustom remodel in a home. Absolutely not. And so my skill set as a writer 10 years ago, versus my skillset now, compared to your skillset as a showrunner is 26 years experience vastly different scale. And I think pace changes and follows that skill set as well. Yeah. Right. So what I'm hearing you say is there's a craft, there's a skillset. You can learn these things. It doesn't change your unique perspective, your voice, your tone, um, the way you see the world, your life experience and all those beautiful things that you bring to the table that no one else can. Right. But it gives you a structure in which frees you up to, to express those things in your unique way. Yeah.Michael: (20:38)Yeah. And it's almost like, it's almost like connect the dots. It's like, okay, for the story, you need eight point a B, C, D E, or whatever. And I'm not going to, I'm not going to budge. We need that point a, we need point B how you want to get from a, to base your decision. But I am not gonna let you, you know, we need to have a and B. Right. And so there's plenty of room for creativity. Like, I'm not saying you, you know, you, you decide how you want to get from a, to B, you could take a plane, you could take a belt, you could take the car, whatever, but we need a and B. So, um, it was interesting that, cause she was so impressed. And I was like, I don't know why it wasn't that impressive. Um, from where I stand, I was like, oh, this is, this is like a day's worth of work. It's not really like, you know, this is what I do for a living. It's not because I hit it on the head with lightning or anything. It's just boom.Phil: (21:22)But it's impressive when you watch somebody who understands the skillset. So like, uh, I was a missionary on the border for two years and I remember this one time we were out with this member of our church and we were talking to some people and their car was broken down and this guy was literally a master mechanic. That was his title. And he walked over and he's like, ah, what's going on? And they're like this, he's like, try to try to turn it over. And they did. And he did pop the hood and he grabs a cable from one side and another cable twist them together. He goes, try it. And it just fired right up. Right. Because he understood from the sound, it made how to make that work. Right. But it just looks like magic the source.Michael: (21:59)Yeah. Right. And it's just a craft. So I always encourage them. Most people don't want to learn their craft. They want, they just want the big bag of money with a dollar sign on it or they want,Phil: (22:07)Yeah. So, so when you moved to LA, um, you sold your first pilot right away, right? Like the first thing you wrote something.Michael: (22:13)Yeah. Right. It was so super easy. I just walked up. I said, Hey, Hollywood, I'm here. And they just, they back up the Brinks truck. It was so easy. Um, that's the fictional version. The real version is, you know, I had to, uh, I, I, first of all, I sent out resumes to try and get a job as a PA. I just wanted to be on a stage somewhere on a soundstage. I want to be honest. I want to be a sitcom writer. I want to be somewhere at Jason's sitcoms. And um, I sent out tons of resumes, no one wanted to hire me. And finally, after, uh, and I was that's when I was working at the yogurt store, finally, my roommate said, you know, listen, you're, you're just sitting here. Y you know, you can do work at the overstory at night, during the day.Michael: (22:50)Why don't you just tell them you'll work for free. So fine. I, I called up, uh, at the time it was a show called evening shade with, uh, with Burt Reynolds. And I, I, I had already sent out resumes to the people there and I called him up again and he said, listen, what if I come in? And I worked for free, the producer was like, sure. Okay. We can work you for free. And I, so I went in and I was wearing a suit and tie, right? Like, you know, like no one ever Susan side, but for some reason I had to press him with a suit and tie. He goes, okay, you can start tomorrow. And I'll pay $300 a week. Cause they had, it was a hit show. They had a little discretionary money. And I was like, wow, $300. I was like, this is a blessing because I would've done it for free. Right. And so that, that was how I got in. And then six months later, all these other resumes that I had sent out earlier, they started coming and then people started responding to me because, you know, there were just no job openings then, but they eventually, if you send it out enough, they will come.Phil: (23:42)Well, that's an important point too, is this, this industry is very seasonal. Like there, there are seasons when they're shooting pilots and their seasons, when you're in the writer's room. Typically I think Cove, it's kind of changed a lot of that.Michael: (23:52)It's also cable, a cable and streaming has changed a lot. So, but at the time, right. It's likePhil: (23:57)We're in development season and now we're shooting pilots,Michael: (24:00)Shooting our show. That's what it was then. Yeah. Yeah. Like I arrived in PA in Hollywood, in June and I arrived literally like three weeks too late, you know? So yeah. Um, but yeah, so, but, and that was just hustle. And then of course then from there, it wasn't like I became a writer wetter right away. I managed to find, I wanted to learn how to be a screenwriter. And I was lucky enough to find an old crotchety, retired TV writer who taught lessons like Emma's standing room table. And I was like, that's why I want to learn from it. I didn't want to learn from a professional writer, a professional teacher. I didn't want to take the standard classes that everyone else has taken. I wanted to find from someone who had the job that I had, that I wanted. And so this guy he wrote on like so many amazing, he wrote on the, the original you run and get smart, uh, the original Twilight zone, the original Twilight zone.Michael: (24:47)Right. Um, all these were the Andy Griffith show. And so now he's retired. He cause he, you know, he just taught in his living in his, in his dining room. And um, I learned so much from that guy. And then from there, yeah, that was writing for DOE. That was his book. But Phil, I Olsen, that's a great book. Um, and then from there I, uh, I managed to, you know, write enough good spec script and I managed to get an agent. And then my agent teamed me up, uh, with another writer who, um, and I wrote a story about this actually. Uh, and he was, I, I was like the new hot baby writer. She actually hires, she she's assigned. She brings on you, don't hire an agent signs, a new baby writer every year. And she blew a lot of smoke up my.Michael: (25:29)You're the baby. I'm going to turn you into a show runner. You're going to be star in three years. You're gonna have your own show. And I'm like, oh my God, this is amazing. And then I kind of sobered up and I was like, oh, I wonder what happened to the baby writer from the year earlier. And I called her up, I was just curious. And then she gave me his name and uh, I called him up and I was like, Hey, so, um, I have your, we have the same agent. What ha what show are you running? You must be running a show now. And he was like, dude, I work at a record store. And, um, you know, so it had, it didn't happen for him. And then I, then my heart sank, I was like, oh my God, it's not going to happen for me either. And I, I read some of his work and he was actually a better writer than I, I was able to look at his work and the next to mine, I go, oh my God, this guy's better than me, but I was hotter than him. In other words, I, I, I was the, the flavor of the day, according to this agent. And so we teamed up rather than compete against each other. We teamed up and we started writing together and that was, you know, years ago. And we're still writing together today. So, yes.Phil: (26:27)Awesome. So it's not like, uh, I, what I've learned from all the writers, I know professional writers and all the, the majority of the writers that I've listened to on podcasts, there are overnight. Success is not anMichael: (26:41)Overnight success. Doesn't happen. Yeah.Phil: (26:43)No. So it's not something that one should expect. It's not typical. And that's why working on focusing on your craft is so important. Like you said, you have to be able to write something so good that the other person has an opportunity to exploit for lack of a better term. Like they see value. They're going to get value out of it, either clout with their boss or money. Right. Cause ultimately if a producer brings this stuff in and they're going to be signed on and they're going to generate revenue off of this, in addition to revenue, they make off of view. Right. ButMichael: (27:15)Also some people think, well, I have this amazing screenplay. How do I sell my screenplay? And I always it's, you're not, it's a calling card for you to get more work. Like no one, no one wants to make your screenplay. They want to make their screenplay. The producer wants to make their project. The studio wants to make their project, but they need a writer who knows how to do that. So if you have a great screenplay, that's a calling card and they say, okay, we're not going to do this, but let's work with you on something else. Are you going to say yes or no? So like, some people are like, well, I, you know, I just want to sell I'm I'm really a plumber. I'm a dentist. I just want to sell the screenplay. Like as if it works, like it doesn't work like that, dude.Michael: (27:50)They don't, no one wants to help that person. They want someone who is serious about the craft. Someone who's dedicated, you know, their career to this. That's the person they want to work with. They're not, they're not looking at the plumber. What you think there's a shortage of ideas in Hollywood. There's no shortage of scripts here. We don't need to go to New Jersey from some plumber to buy their script. Right. But if you want to become a screenwriter, you need to learn the craft. It's a calling card and then you'll, you'll get more work. So it's one thing, you know, it's one thing to, to sell, um, or to sell your script or even to get on writing step. But it's another thing to turn it into a career it's much, much harder to make a career out of it, which is something which I've been, I've done fortunately for 26 years. So, uh, I'm, I'm certainly not a famous screenwriter. There's are there aren't many, to be honest, there aren't many household names for TV writers. I mean, that's just not, no one knows who we are, but I'm, I'm the guy, um, you know, I've been kicking around. I mean, I've made a career out of it and I'm fortunate enough to be doing it for 26 years.Phil: (28:48)Oh, that's awesome. And you know, for me, I think there's a dearth of experience there, right? There's just so much experience that we can learn from. I've definitely learned a ton from you. Yeah. I think the people who've taken your course, I've learned a ton from you. So hopefully this podcast is a way to bridge that and help share some of that information with other people and share that. So that kind of backs me to a pretty important question, which I think I've always asked, which is what are the skillsets that I need to know in order to make it as a writer. And that might be a broad question, but I'd love to hear your answer. Well,Michael: (29:20)At first and foremost, it's, it's like I said, it's one thing you can get, like, you may get lucky and get on staff, but if you do not know how to write you a flame out and you will not write it, you will not get hired again. Like, so, okay, you got it. And you see this having a lie, like you'll see someone teaching at a film school and they had one run one credit, or you know, that that's kind of their calling card is out there shot.Phil: (29:43)Well, not to put it out, like put out like a, an ominous tone. And that was something you told me when I asked you, I said, Hey, you know, I want to move to LA because you gave me that advice. You have to be in LA, but at the same time I've been offered this scholarship opportunity to go to film school. And you said, well, you know, here's where the writing happens and film school, you'll probably get a network out of it that might help you. But the other benefit is you'll, you'll probably be able to teach a university someday if it doesn't work. Yeah. It's like, oh, oh, because you have to have a master's degree to teach at a university. That's right. That's the benefit is there's some job security that you can then go teach that same stuff you learned in school to other kids who are in school.Michael: (30:23)Right, right. That interests you. Right. But it's, um, you know, a lot of people that means you. My next point is people say like, um, you know, can I break into Hollywood without going to Hollywood? So you're basically saying how they would come to me. I'm unwilling to go to Hollywood. You have to come to me. So if you want Hollywood to get off its and come to you, you better really be offering something pretty special. And it can't be a mediocre script. And you were like, well, but how would we fill with mediocre scripts? Okay. Whatever we can argue for that, maybe it is, but they don't need your mediocre script. They're not going to come to you. So if you want Hollywood to come to you, you better well know what you're doing. And that means knowing your craft and, and other things if we're talking about another podcast, but, um, there's really no substitute to being an excellent writer and it's not good enough. It's not good enough.Speaker 4: (31:13)[inaudible]Phil: (31:25)This has been an episode of screenwriters. Need to hear this with Michael Jackson and Phil Hudson. If you'd like to support this podcast, please consider subscribing, leaving a review, and sharing this podcast with someone who needs to hear today's subject feel can to support yourself. I encourage you to consider investing in Michael's screenwriting course and MichaelJamin.com/course I've known Michael for over a decade. And in the past seven years, I've begged him to put something together during the global COVID-19 pandemic. Michael had time. And I have to say, I wish I'd had this course 10 years ago. If someone who's personally invested in most online courses earned a bachelor's degree and actively studied screenwriting for over a decade, this course has been more valuable to me than most of the effort I put in because it focuses on something. No one else teaches stories. In his course, Michael pulls back the curtain and shows you exactly what the pros do in a writer's room. And that knowledge has made all the difference for me. And I know it will for you too. You can find more information at MichaelJamin.com/course for free daily screenwriting tips. Follow Michael on Instagram, Facebook, and TikTok @MichaelJaminWriter. You can follow me on Instagram, Facebook, and Tik TOK @PhilAHudson. This episode was produced by Phil Hudson and edited by Dallas crane until next time, keep writing.

This week we discuss where vanilla comes from. Also we talk about DaBaby and Danileigh and finally we ask if people can change and if you believe in second chances?

TALA talks fast cars, Angry Beavers and Schrodinger's Ja Rule with a special guest intro by Australia's only comedian Angus Gordon

Happy Halloween! When Julie Hough was on the show for episode 135, she mentioned that it would be cool if we did a Halloween Special about Halloween Specials and she was absolutely right! So we got Julie and our most knowledgeable telly friend Jenn Gannon to come back and have a chat with us about our favourite ever Halloween Specials! We talked about Sabrina, Community, Angry Beavers, Hey Arnold!, Freaks and Geeks, Buffy, and more. A spooktacular time was had by all. Julie is still @julie_hawk_ on Instagram and HAVVK is @havvkmusic. Their fantastic new album Levelling is still out and is still fantastic. Jenn is still @jennpops on Twitter. You can find her on your radio and in your publications. Alan is @alan_maguire. Juvenalia is his main thing right now. Sarah is @griffski. Her many books are in all good bookshops and her many zines are at sarahmariagriff.com Thank you to Dee McDonnell for our artwork. We have a Patreon! You can get bonus episodes including our fortnightly show Started/Finished where we talk about the pop culture we started and finished in the previous two weeks. We also have some free lil bits of merch. It's patreon.com/juvenalia This episode was edited and produced by Amelia Cullen. Juvenalia is a Tall Tales podcast. Thank you Cassie.

On the spooky 211th episode of Big Orange Couch: The 90s Nickelodeon Podcast, Andrew, Joey, and Joscelyn discuss the second season episode of The Angry Beavers, "The Day the World Got Really Screwed Up." Also, bios, trivia, ratings, stray observations, and name the episode. Plus, scary stuff we're watching, Joscelyn's halloween history, Matthew Lillard, candy corn, robot talk, and so much more! 

Beavers are starting wildfires and parents are talkin anal at PTA meetings. Whata country. @alldaysoffpod @aronsoncomedy @yoskoooo --- Support this podcast: https://anchor.fm/alldaysoff/support

Today we attempt to figure out just what exactly the difference is between cartoons and anime. We end up deciding that The Angry Beavers is, in fact, an anime. --- INSTAGRAM: https://www.instagram.com/sclass_yt/ TWITTER: https://twitter.com/sclass_yt EMAIL: sclasspodcast@gmail.com

Episode Notes Subject: Angry Beavers Guest: Jaymes In this episode, Jaymes brings this late 90s animated show for discussion. Talking points include Beatles parodies, changing your name, and more. Support us! Join our discord! Facebook | Twitter | Instagram Find out more at http://hitmeonemoretime.com This podcast is powered by Pinecast.

Topics4:30 - Push vs The American Healthcare System25:10 - Doc vs NYC DOE & Bill deBlasio37:14 - Dumb Ass District Attorney Responsible for Cosby’s Release1:00:17 - Doc & Push vs Old London

Dan and Lacy are back with another Cartoon Commentary! This time they cover the pilot episodes of Angry Beavers (Parmount+) and Recess (Disney+). They talk some lucky charms, staying up all night, and activities they use to do at Recess. Enjoy! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/lacy-williams1/support

In which we applaud Paul Simon's light-fingered songwriting skills, delight in the fake Roxy Music rejection letter, trace the origins of rock's black uniform (which Keith Richards reckons has it roots in cowboy movies), discover powerful new chemical benefits from being in bands, reveal the Spandau Ballet hit based on If I Had A Hammer, hear Philip Roth's advice to an aspiring novelist and play rock band or children's entertainment option (Angry Beavers?).Want exclusive early access to every future Word Podcast - and in full audio-visual glory! - alongside a whole host of additional exciting, enlightening and entertaining content and benefits? Of course you do! Make sure you're signed up to our fabulous Patreon for all this and more: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Welcome to another chapter of my Thrifting Audio Diary. Each week I invite some friends of mine out on my Thrifting Adventures. We spend the day scavenging, bring our loot back to the studio, then record what we found.I welcome my co-host, Josh "Last Call" Larkin back to the show. It's the holiday season and your two favorite little devils have a fun thrift haul for you, this week.This episode features the "For Christmas, Just Come Home" off my hip hop Christmas EP "Delicious Cookie".(https://toddy.bandcamp.com) This Week's Thrifty Finds / Discussion Topics :- GUESS WHAT WE FOUND? Segment Premiere- A fellow thrifter told us he listened to the show?- Angry Beavers, Chomping Wood Norbert (Nickelodeon, 1998)- Zombie Plush Slippers (ThinkGeek, 2016)- A Christmas Miracle performed by Me, those Zombie Slippers.- Nintendo 64 Promotional VHS (feat. Ken Griffey Jr. Baseball, Kobe Bryant Courtside, 180 Snowboarding)- Ceramic Tombstone Salt and Pepper Shakers- ME AT MY CORE : I continue to surprise Josh by introducing him to MY CORPS Action Figures. He believes one of them is a security guard at a BDSM Club..which he isn't wrong.- THE ROACH COACH : We take emails from the listeners of the show. Goodwill Outlet Code of Conduct?Introducing people to the thrifting culture..Special thanks to :BLUFFS for "Alternate Reality", the theme to our show for many reasons. (https://steveberes.bandcamp.com)You can email the show at thriftypodcast@yahoo.com . Tell us about your thrift hauls!I'm sentimentally attached to things you've forgotten. It's time to get THRIFTY!