Podcasts about Beyond Therapy

Aly Vredenburgh: Gen Z Mental Health in Crisis | Lean to the Left PodcastIn this episode, mental health activist Aly Vredenburgh, author of "Out Of Focus dives deep into the mental health crisis gripping Generation Z.From soaring rates of anxiety, depression, and loneliness to the crushing effects of capitalism, climate anxiety, student debt, and housing instability, we explore the systemic forces that have left millions of young Americans in despair. But Aly doesn't stop at diagnosis—she offers fresh solutions beyond medication and therapy, including universal mental healthcare, city infrastructure reform, and social entrepreneurship.

SEND US A TEXT MESSAGE Ever feel like your body is calm—but your mind is still bracing for impact? In this eye-opening episode, we explore what's really running the show when stress, anxiety, and emotional shutdown hijack our lives—no matter how much therapy, mindset work, or self-talk we've done. Our guest, Natalie Baker, is a psychotherapist and neurofeedback expert who blends Eastern wisdom with cutting-edge brain science to help clients rewire the patterns keeping them stuck in survival mode. Natalie breaks down how neurofeedback gives your brain real-time feedback so it can stop reacting to old threats and start responding to the present moment. From helping high performers manage anxiety to guiding trauma survivors back to inner calm, Natalie shares how this powerful tool helps people finally step out of autopilot and into a regulated, resilient life. Whether you're an entrepreneur battling burnout, a parent navigating emotional landmines, or someone who's done all the “right” things and still feels stuck—this conversation will give you both hope and a new lens on healing.   ✍️ WORKBOOK MOMENTS: Use these prompts to journal, reflect, or open up a deeper conversation: When does your body feel triggered, even when you know you're safe? What emotional “loop” do you keep falling into—despite all your efforts to change? What belief or pattern might your brain be clinging to for survival? How do you cope when your nervous system says “danger” but your mind says “you're fine”? What would your life feel like if you could respond from the present instead of reacting from the past? Connect with Natalie: Website: www.neurofeedbacktraining.com Instagram: https://www.instagram.com/neurofeedbacktrainingco/ Facebook: https://www.facebook.com/NeurofeedbackNY/ Youtube: https://www.youtube.com/@Neurofeedbacktraining Connect With Us:

Adding Supervision to Your Therapy Practice for Financial StabilityIn this episode of 'Therapy for Your Money,' host Julie Herres welcomes Brittany Schank to discuss the benefits of incorporating supervision into therapy practices. Brittany, a group practice owner from Fargo, North Dakota, shares her journey of adding supervision to create financial stability amidst the unpredictable nature of insurance payments. They delve into the logistical aspects of providing supervision, including the establishment of fair rates, group versus individual supervision dynamics, and advertising strategies. The discussion also covers key considerations for practice owners, such as liability insurance, setting up contracts, and potentially separating supervision services from the core practice for legal and business reasons. This episode provides valuable insights into expanding revenue streams by offering supervision, making it a must-listen for therapy practitioners looking to enhance financial security.Show Highlights 00:00 Introduction to Therapy for Your Money01:01 Meet Brittany Schank: Group Practice Owner01:59 The Financial Benefits of Supervision03:30 Setting Up Supervision Services04:30 Determining Supervision Rates06:44 Group Supervision: A Profitable Approach10:38 Advertising and Finding Supervisees12:09 Legal and Logistical Considerations18:35 Final Thoughts and ResourcesLinks and ResourcesSolace Directory: https://solacecodirectory.com/Money for Therapists Practice Startup - https://www.greenoakaccounting.com/startupGreenOak Accounting - www.GreenOakAccounting.comTherapy For Your Money Podcast - www.TherapyForYourMoney.comProfit First for Therapists - www.ProfitFirstForTherapists.comProfit First Academy - www.ProfitFirstForTherapists.com/Academy Podcast Production and Show Notes by Course Creation Studio

Bron is joined by Caitlin Bell (Copywriter and clinical psychologist) to chat about her unique career path. That's right, it's a listener story!

After years of identifying solely as a teacher, Kim faced an identity crisis when burnout forced her to leave the profession. What followed was a deeply personal journey through therapy, self-discovery, and alternative healing modalities. In this episode, she shares the emotional rollercoaster of redefining herself, uncovering childhood trauma, and eventually finding relief through holistic practices like Reiki, yoga, meditation, and energy healing.Now a certified holistic practitioner, Kim helps others navigate their own healing journeys. She joins host Jennifer Peterkin to discuss the reality of burnout, the limitations of traditional therapy, and the power of exploring alternative healing methods.Key Takeaways:Kim's journey from teacher burnout to holistic healingThe emotional toll of losing an identity tied to career successHow traditional therapy helped—but also left gaps in her healingThe role of yoga, meditation, Reiki, and energy work in her transformationThe importance of trusting your intuition when seeking helpHow Kim now helps others on their own healing and self-discovery journeys#TheHumanExperiencePodcast #HealingJourney #EnergyHealing #MindBodyWellness #OvercomingBurnout #HolisticHealingFollow Along:Website: https://www.thehxpod.com/Instagram: https://www.instagram.com/thehxpod/Facebook: https://www.facebook.com/getthehxTikTok: https://www.tiktok.com/@thehxpodYouTube: https://www.youtube.com/@thehxpodWebsite - https://www.kimkeane.com/Instagram - https://www.instagram.com/kimvkeane/Facebook - https://www.facebook.com/kimvkeaneYouTube - https://www.youtube.com/@kimvkeaneEmail - kim@kimkeane.com Donate to The Human Experience PodcastFollow Along on InstagramVisit The WebsiteSend me an email at TheHXPod@gmail.com

Sabrina Santa Clara is the founder of Interweaving Journeys and a Spiritual Doula who guides individuals, particularly therapists, healers, and entrepreneurs, on their journey of self-discovery and healing.. Sabrina combines psychological insights with spiritual practices to help her clients tap into their inherent wisdom and remove obstacles to their growth.Here's where to find more:www.SabrinaSantaClara.com (it is being updated and the new site should be up by the end of the month..)Instagram: https://www.instagram.com/Neoshamanic.ifsLinkedin: http://linkedin.com/in/sabrinasantaclaraFacebook: https://www.facebook.com/neoshamanic.ifs Youtube: https://www.youtube.com/@sabrinasantaclara___________________________________________________________Welcome to The Unforget Yourself Show where we use the power of woo and the proof of science to help you identify your blind spots, and get over your own bullshit so that you can do the fucking thing you ACTUALLY want to do!We're Mark and Katie, the founders of Unforget Yourself and the creators of the Unforget Yourself System and on this podcast, we're here to share REAL conversations about what goes on inside the heart and minds of those brave and crazy enough to start their own business. From the accidental entrepreneur to the laser-focused CEO, we find out how they got to where they are today, not by hearing the go-to story of their success, but talking about how we all have our own BS to deal with and it's through facing ourselves that we find a way to do the fucking thing.Along the way, we hope to show you that YOU are the most important asset in your business (and your life - duh!). Being a business owner is tough! With vulnerability and humor, we get to the real story behind their success and show you that you're not alone._____________________Find all our links to all the things like the socials, how to work with us and how to apply to be on the podcast here: https://linktr.ee/unforgetyourself

In this episode of 3 Pie Squared - ABA Business Leaders, we sit down with Jennifer Heidt, Director of Training at Above and Beyond Therapy. Jennifer shares her insights on fostering leadership, promoting transparency, and building collaboration within ABA organizations. We discuss challenges faced by RBTs and BCBAs, strategies for empowering staff, and the importance of creating supportive workplace cultures. Jennifer's extensive experience in clinical practice and leadership roles has equipped her with a deep understanding of mentorship, training, and the value of connection and empathy in ABA. Connect with Jennifer Heidt: LinkedIn: www.linkedin.com/in/jennifer-heidt-8746b938 Sponsor: This episode is sponsored by MarginKeepers. Concentrate on the science, leave the accounting to us! We have in-depth knowledge of the Applied Behavior Analysis field. Affiliate link: https://3piesquared.com/business-affiliate/MarginKeepers

Send us a Text Message.Join us for a special live episode of Our Byron Community which was recorded at an intimate gathering at the Sun Seeker Hotel in Byron Bay. Host Chris Hanley had the privilege of sitting down with Andy Hamilton, Founder of Human Nature Adventure Therapy. With over 20 years of experience in youth mental health and rehabilitation, Andy shared his journey and insights into his pioneering work.During this live recording, attendees had the opportunity to witness firsthand as Andy discussed his deep-seated commitment to supporting "difficult-to-engage" adolescents and traumatised youth. We explored how Andy's passion and expertise led to the creation of Human Nature Adventure Therapy, known for its innovative blend of outdoor education and therapeutic practices.This episode offers a behind-the-scenes look at our engaging event, where the audience in Byron Bay had the chance to hear Andy's personal stories and the impactful evolution of his therapeutic programs. Tune in as we uncover Andy Hamilton's inspiring path and the transformative impact of Human Nature Adventure Therapy.The full video is accessible on YouTube via this link: https://youtu.be/U4SBu6MqIIAIf you'd like to share your story with us or provide feedback, please contact us via email at chrishanley@byronbayfn.com 

Are you getting tired of working in someone else's group practice and want to become your own boss through private practice, group practice or through your coaching practice? You've come to the right place! That's exactly what we're covering with this week's guest, Kathy Acosta!    Kathy Acosta is an LCSW and EMDR-certified therapist. She is also a proud first-generation Latina, mom, and the enthusiastic owner of her own group practice in Ridgewood, NJ. She's all about breaking barriers and building bridges. As a private practice business coach, she specializes in coaching private practice owners who are ready to take the leap and expand into group practices. She is also the CEO and Founder of the Latinx Practice Collective. Their mission is to create a space that's as vibrant as Latinx culture through community, support, and business consultations with private practice owners.    Kathy chose an unconventional path and started her own group practice all on her own! She took her background in business and her experience as a first-gen Latina and created something incredible! Because of this she expanded Beyond Private Practice and started multiple businesses as a Therapist, one of them being her Coaching Practice. She is building a legacy far beyond the therapy room and will soon be launching one of the few directories of Latinx therapists in the nation.    Listen to the full episode to hear Kathy's path to building a legacy beyond private practice. Ready? Let's get into today's episode!      Topics covered in From Latina Therapist to CEO & Coach: Kathy's Path to Building a Legacy Beyond Therapy: Why Kathy decided to leave the security of her job in a group practice and start her own group practice   Why being a first-generation Latina set her up for success as a business owner  How having her own coach benefits her and her business  Actionable steps that you can take to create your own support system How to avoid burnout as a business owner   Connect and Work with Liz Fernandez: Website: https://thelizfernandez.com/  Instagram: @thelizfernandez Therapist to Coach Collective Waitlist Apply for 1:1: private coaching From Therapist to Coach Weekly Email Series Connect with Kathy Acosta: Website: https://www.herocenternj.com/  Latina Practice Collective: https://www.latinxpracticecollective.com/  Hero Counseling Center: https://www.heroconsultations.com/  Instagram: @hero_counseling, @latinx.practice.collective    Resources from this episode: Join the Therapist to Coach Collective Group Program Apply for 1:1: private coaching   Podcast production for this episode was provided by CCST.

This week, Jake and Bob discuss their journeys away from being therapists and the reasons behind their decisions. They reflect on their experiences, share how they outgrew their roles as therapists, and how they found other outlets to use their charisms and gifts. Jake and Bob also share the burdens they felt before and after making the change and how surrendering their work to the Holy Spirit has helped bear more fruit than ever before.    Key Points: Therapy can be a demanding profession that requires selflessness and a high level of holiness. Outgrowing the role of a therapist can be a natural part of personal growth and development.It could be a difficult but necessary step in answering God's call to a larger audience. Supernatural opposition can occur when bringing the Kingdom of God into the world. The Holy Spirit is the primary therapist and therapists should surrender to His guidance.   Connect with Restore the Glory:  Instagram: @restoretheglorypodcast  Twitter: @RestoreGloryPod Facebook: Restore the Glory Podcast   Never miss out on an episode by hitting the subscribe button right now! Help other people find the show and grow in holiness by sharing this podcast with them individually or on your social media. Thanks!

We've dragged our feet long enough, but it's time for us to get into Altman's final movie from the year 1987. After all these surprise hits in the 80s Bob era, we finally hit a big old goose egg, and it's Beyond Therapy.  We get into Altman and Christopher Durang's differing scripts, Jeff Goldblum being bad at improv, 80s yuppie freaks, and we try to figure out who is to blame for this movie. We have a lot of laughs though and make a good time out of it, so listen in because this one's a doozy!

Are you wondering what it looks like to add coaching to your work as a seasoned therapist? Then this episode is for you, this week's guest shares her experience in embracing both of her roles as a therapist and coach. She shares how by offering decolonized guidance and coaching services, Sonia was able to break free from the limitations of being a therapist and enjoy the autonomy of being a coach!    Sonia Fregoso, M.A., LMFT, is a Xicana licensed psychotherapist, and energy coach. Sonia has a bachelor's in Psychology from the California State University of Los Angeles, and a Master's in Clinical Psychology from the University of Southern California. Beyond her education, she continues to study Grief & Loss, Depth Psychology, Energy Psychology, Transpersonal Psychology, and Somatic Experiencing. As a facilitator of healing, she combines her expertise in psychology with elements of Curanderismo, Ancestral, Spiritual, and Energetic healing practices.    Join us on an inspiring episode with Sonia, a coach for high-achieving Latinas, as she shares her profound expansion from the confines of traditional therapy to the expansive world of coaching. In this episode, Sonia tells us how she integrated offering coaching as a way to further impact and promote decolonized healing approaches for Latinas.   In this Instagram Live conversation, Sonia shared how she knew she had to expand beyond therapy when she felt her work was confined within the box of being a therapist. Now that she's embracing both of her roles, she's enjoying her work and attracting clients who energize her.   Listen to the full episode to hear more about how Sonia learned to embrace both of these roles in her journey as an entrepreneur.   Topics covered on [SEO KEYWORD]: How she broke free from her limitations as a therapist  Why she expanded beyond private practice and started offering coaching services  How she's using ethical marketing to attract her ideal clients in her coaching business How she overcame her thoughts about the coaching space How she figured out who her ideal clients were  How she neutralized her thoughts around calling herself a coach   Connect with Sonia Fregoso: Website: https://obsidianwoman.com/   Instagram: @lasoniafregoso Podcast: The Slow Down Podcast Connect with Liz Fernandez: Instagram: @lifewithhliz Therapist to Coach Collective Waitlist Apply for 1:1: private coaching From Therapist to Coach Weekly Email Series   Resources from this episode: Sign up for my FREE Webinar “How to Double your Therapy Income with 1 Coaching Offer & 2 Clients per month” Therapist to Coach Collective Waitlist Apply for 1:1: private coaching

Sarah Seraphina of Nurtured Essence is a Spiritual Activator and Plant Medicine Integration guide. She was previously a licensed Trauma Therapist before deciding to leave that world to pursue a more soul-aligned path. Sarah grew up experiencing significant childhood trauma, and knows firsthand how challenging and empowering the path of healing can be. She has walked through many flames of transformation and passionately guides other women on their journey to reclaim their true nature and blossom. Going beyond therapy, her work is holistic and rooted in nature, spiritual teachings, and psychology. She believes the healing journey is meant to connect you more deeply to yourself, your relationships, your community, and Mother Earth. Incorporating nature into her practice, Sarah combines different Earth elements with self-exploration, expression, and rituals.  Sarah invites women to remember your true power and essence, and return to living in harmony with yourself. She helps you see your value and magic, and embody your authentic energy. If you're ready to leave the Damsel in Distress behind and step fully into your sovereignty as the Queen of your own life, this episode is for you. GET IN TOUCH WITH SARAH WORK WITH SINCLAIR --- Send in a voice message: https://podcasters.spotify.com/pod/show/psychedelicintegrationpod/message

Send us a Text Message.In today's episode, Sarah and our special guest Rachael McLaughlin discuss the journey of reclaiming oneself throughout different seasons of life. They chat about what that might look like in eating disorder recovery and in motherhood, particularly in the context of postpartum depression. Sarah and Rachael explore the challenges of navigating multiple roles and identities, the loss and grief associated with motherhood, and the fear of empty spaces when letting go of certain identities. They also discuss the complexity of shifting identities and the comfort in being uncomfortable. Additionally, they touch on the challenges of balancing business and motherhood and the importance of prioritizing and focusing energy. They dive into the idea of the spiral staircase of healing and self-discovery, where each phase of recovery leads to a deeper understanding of oneself. They emphasize the importance of making space for one's own aliveness and stepping off the staircase to enjoy the present. They also discuss the impact of comparisons and expectations in society and the need to tune out external noise and turn up internal volume.TakeawaysMotherhood can bring about a need to reclaim oneself and navigate multiple roles and identities.Postpartum depression can complicate the journey of reclaiming oneself in motherhood.There is a sense of loss and grief associated with motherhood and the need to let go of certain identities.Shifting identities can be complex and may require prioritizing and focusing energy.The mental load of motherhood, including managing household tasks and childcare responsibilities, can be overwhelming.Creating space for self-care is essential for maintaining mental and emotional well-being.The healing and self-discovery process is like a spiral staircase, with each phase leading to a deeper understanding of oneself.Making space for one's own aliveness and stepping off the staircase can bring a sense of peace and enjoyment.Comparisons and societal expectations can contribute to feelings of inadequacy and the need to constantly strive for more.Tuning out external noise and turning up internal volume is crucial for finding balance and prioritizing personal growth.Be sure to check out Rachael's practice, Beyond Therapy and Nutrition Center and follow them on Instagram!Thanks for listening to Reclaim You with Reclaim Therapy!To learn more about Reclaim Therapy and how to work with a therapist on the team, head to https://www.reclaimtherapy.org.Be sure to comment, like and subscribe here, or on YouTube and come follow along on Instagram!

 Are you struggling with internal conflicts that hinder decision-making? Maybe it's time to address these unresolved issues. After all, those who rise to their challenges are the ones who rise to new heights.Dr. Bonnie Wims, therapist, and mental coach who got her doctorate in her 50s, is proof that it is never too late for personal growth. Her perspective is reflected in the belief that “unacknowledged pain doesn't go away, it multiplies.” She advocates for continued self-work and acknowledges that she, too, continues to work on her setbacks. In her words: “The truth of who you are is not in what you are told or what you are taught, but rather the true nature of you is in what you choose.” Being vulnerable to see your behavior is hard, and we need support in that process. But we can do it!Make a good choice and listen to this episode that will help you make the right steps towards therapy! Show notes:

Episode 79: Finding Balance Beyond Therapy with the Happy Mom Method   Join Dr. Prianca Naik on the Empowering Working Moms Podcast! In this episode, she talks about how coaching can benefit you in finding work-life balance in a different way than therapy can. Dr. Prianca invites you to learn about how coaching can give you a way to create a concrete plan to get you out of burnout and exhaustion faster than therapy can. Tune in for more on this topic.   In this episode, you will learn: How therapy helps but takes a long time How to get out of the ‘Daily Grind Dread Cycle' How to get transformational results in a shorter period of time Tangible tools to find more balance   To end burnout and exhaustion and get your peace of mind back, check out her free masterclass on 4 steps to overcome burnout, get rid of overwhelm, and get your peace of mind back. https://program.stresscleansemd.com/4-secrets-to-living-a-life-you-ll-love-podcast   If you want to work with Coach Prianca Naik, MD, go to www.priancanaikmdcoaching.as.me to book a 30-minute consultation call.   Sign up for this powerful vision breakthrough today…a limited time offer until the end of this year: https://buy.stripe.com/cN22c8cWH4Aq0KsdQT   Follow Dr. Prianca on social media:   https://www.facebook.com/prianca.naik   https://www.instagram.com/doctorprianca   https://www.linkedin.com/in/prianca-naik-md-0524a196/   Join her FREE Facebook group:   https://www.facebook.com/groups/646992382603860   [FULL TRANSCRIPTION:]   You're listening to the empowering working moms podcast episode number 79. Hi there, everybody, I am so glad to have you listening here today to this podcast episode. We are just wrapping up, I was gonna say the old year, which sounds weird. So let's just say that we are approaching the new year where a lot of us feel a renewed sense of self.   And we want to have a fresh start to all that we might want to achieve in 2024. And I know for a lot of you that is finding balance or finding work life balance. And so many of my clients want this too.   In fact, one of my clients, she was telling me that she found therapy. And she did it for a really long time, because she felt unhappy and unfulfilled, especially in her role of being a mom. She's a high power pharma exec. But she found basically, she had two problems with therapy.   One was that it was very expensive, and that it wasn't really covered by insurance, which happens, I think, to a lot of people. And also it was super time consuming. And then it really takes years to see the effect of therapy. So that's really what made her try coaching.   She found that within just a few months of working with me, she had her transformation and was really able to figure out finding happiness, peace of mind and balance her demanding work life along with her home life and responsibilities as a mom. And that coaching really provided tangible solutions for her that really therapy had not.   And I bring this all up because today I want to dive into the concept of coaching versus therapy in finding work life balance, or just finding a more balanced life. Maybe you've tried therapy, and it's helped for a little while. But overall, you still don't feel better. And here's what's happening to most people, when they're experiencing the following problems. You've got the successful career you're proud of.   But almost daily, you're filled with guilt, because you just can't show up for your family in the way that you want. And even though you've made it in your career, you daydream about being with your kids when you're at work. But then you're thinking about work when you're at home, and you're never present in your life because you're constantly flip flopping between the two.   Or when you make plans for fun when you're not working, these plans cause you to feel even more tired, more overwhelmed, and you don't get the sense of peace, rest or balance. And it's so frustrating. Because on paper, you've got everything that you've worked for personally and professionally, but you're still unfulfilled, you're still not happy, and you definitely don't feel balanced.   So often people will look for therapy or to find a therapist to solve this problem. And here's what happens, sometimes the therapist is a good fit, but sometimes the therapist isn't, and then that's kind of an issue because then you have to really go therapist shopping. And then maybe even couples therapy, which is great.   It's good to have a neutral party to mediate and bounce ideas off and have a different set of eyes and ears on your marriage or your situation. But even that doesn't necessarily give you the solution that your marriage needs. And then in therapy, sometimes you just wish that your therapist would be more prescriptive, but he or she isn't.   And a lot of my clients complain that their therapy sessions really turn into vent sessions. And though that's helpful to be able to vent things out, they don't really leave with concrete solutions, and they don't feel themselves finding transformation. And many of us have walked the path of therapy just to help us navigate our brains.   And of course, therapists do offer a safe space if you find the right fit. But it can be a challenge to find the right fit. And the journey through therapy can leave us with insights about our past. But then often, why does it feel like sometimes we're stuck in a never ending cycle of venting. And then maybe even after years of therapy, you might have a better idea of how your childhood has affected where you are today. Or also like what got you here.   But you're still left feeling exhausted and you don't know how to enjoy the now. You don't know how to even get from now to where you want to be. So really, here's what I really believe needs to be done instead: coaching. Because this really starts with an awareness. Awareness is the first step of all of this work. And it's basically an awareness of the stories that are going on in your brain.   So what is our brain telling us and really being aware of that and in tune with that. And then once we realize what our brain is telling us, we can make an active choice and we can decide do we want to play into the story, do we want to feed into the story? And really part of the work inside my coaching program is where you learn about the stories, the narratives that you're telling yourself and recognizing what's going on.   So questioning these narratives and deciding what we want to do with them. That really is the step of breaking free from the cycle of what I like to call the cycle of the daily grind dread, and gaining clarity on our thought patterns that really end up shaping and creating the experience of our lives.   So this cycle of daily grind dread is really something that so many women and moms in demanding careers, they are suffering from it. Where you're waking up in the morning, you're exhausted, your alarm goes off, you're not rested, you got to jump out of bed, get your kids ready for school, out the door, maybe get to school on time, get to work, and then it's go go go in the grind during the day.   You come home, you've got the chores or chauffeuring your kids around, maybe getting dinner on the table, and then you're so exhausted at night. Maybe you're scrolling on your phone, while you're Netflixing at the same time, and you stay up too late watching Netflix, and then you go to bed, not having gotten enough sleep to wake up and do it all over again. And this is just no way to live.   There has to be more, in fact, forget there has to be, there is more to life than this. And it's really through doing the deep work, healing yourself. Not bandaid solutions, which often therapy can be and doing the work to get yourself out of that cycle of the daily grind dread. And really getting clarity on what's happening in your brain and what you're going to do about it. So how do we figure out these stories?   Well take a moment to reflect on major events in your life. I want you to take a moment to do this. And really, I would pause this podcast episode or come back to it later if you're driving or walking or running and think about the major effects in your life, both positive and negative, and make a list.   And then once you have the list, look at each event and really think about the thought that you have related to each event. For example, for me getting into medical school, that was a huge achievement in my life, that was a huge event. Or maybe that is for you, what were the underlying thoughts and narratives that propelled you forward. So for me, it was that I can do anything I put my mind to. And knowing that that is a story, that is a narrative that's helpful. And I can use that and move forward with it.   Versus if there's maybe a negative event with a negative story behind it, we can become aware of that. And conversely, we can decide to drop that story and not play into it because it's not helpful. So understanding these stories is really the first step towards either carrying them on because we want to and this is all with intention. We're living a life with intention and having intentionality.   So we're being intentional with carrying the story forward, because it's helpful. Or in dropping the story and maybe creating a new one, if it's not helpful. And this is especially, you're gonna see this in the negative events. And one of the key advantages of coaching in breaking the cycle of the daily grind, dread.   So one of the key advantages to coaching is that it focuses on action. And it's really about getting ourselves out of this loop of monotony. So meaning this loop of monotony is what keeps us in this daily grind dread cycle, and we can't break free. But coaching helps us identify the stories that's really holding us back and replace them with empowering narratives.   And this is a proactive approach that really moves beyond vent sessions and actually offers tangible strategies to create lasting change. So getting out of the daily grind that dread cycle is really the happy professional mom method, the happy mom method. And we learn to have alignment and mindfulness and empowering ourselves so that eventually we can really enjoy our time with our kids.   Enjoy the trips that we plan, truly be present with them. Have the balance, have peace of mind. And this is all possible. And the reason I really do this work is to help moms like yourself, get out of the daily grind dread to really create the life that they want for themselves. A dream life in fact, one that really aligns with what they see for themselves because I want to make sure that you don't have regrets when you die.   And you're really making the most of this life and enjoying and being present for the majority of your life. To be a happier mom professional, have happier partners, husbands or wives. And happier kids, which really makes a happier world. And as a physician, I'm still practicing medicine.   But I have been there in the full time daily grind dread and one day was just bleeding into the next until I had my awakening when I became a mother and I just knew that I wanted to create a different and better atmosphere for my child. And that is what brought me into this work and that is why I do what I do.   And I heal people in a different way. I am a healer of course, because that's just what physicians are, but I get to heal people. I get to help women like you and really feel like I'm making a positive impact on this world.   So if you too want to learn more and see if you're dealing with issues like this, and they sound familiar book a call with me, PriancaNaikMDcoaching.as.me to see if you're someone that I can help too. Thank you so much for tuning in today and I will talk to you next week.

Have you ever considered expanding the services offered in your group practice beyond one-on-one counseling?    Expanding services in a group practice can be a game-changer. In this rerelease episode, I discuss the benefits of doing just that - specifically offering CEs (Continuing Education) and/or training in the community. As a group practice owner myself, I have found that diversifying our services has not only increased our revenue but also reduced burnout among our team members. Join me to learn more about:   Benefits of becoming CE providers in your group practice Offering CEs to the community or therapists while making sure it aligns with your business values Considering questions like: Who will be the training providers? and Who will run and spearhead the program? Realistic timelines to build, market, and reach the break-even point Steps to screen candidates to ensure the quality and relevance of the training   Expanding services in a group practice can have numerous benefits. By offering workshops, webinars, and speaking engagements, you not only diversify your services but also provide opportunities for your team members to be paid for their presentations. Building a profitable program takes time and effort, but the financial benefits can be well worth it.   Thanks for listening! Like what you heard? Give us 5 stars on whatever platform you're listening from. Need extra support? Join The Exchange, a membership community just for group practice owners on our website www.thegrouppracticeexchange.com/exchange. Talk to you next time!   Connect with Maureen Werrbach & The Group Practice Exchange: Website Facebook Instagram LinkedIn   This episode is sponsored by TherapyNotes. TherapyNotes is an EHR software that helps behavioral health professionals manage their practice with confidence and efficiency. I use TherapyNotes in my own group practice and love its amazing support team, billing features, and scheduling capabilities. It serves us well as a large group practice owner.   Do you ever wish for a financial therapist who could relieve you from the last few months of bookkeeping, talk you off the edge when you're running into issues with Quickbooks, or help you work through a profit plan for growth? GreenOak Accounting does just that! GreenOak Accounting is an accounting firm that specializes in working with group practices. Their value goes WAY beyond bookkeeping; they can help you get on track for financial success. Schedule a free consultation by going to http://greenoakaccounting.com/tgpe

Dr. John Vervaeke engages in an in-depth conversation with Seth Allison, a practicing psychotherapist, to discuss attachment theory, Internal Family Systems (IFS), and their implications for mental health and relationships. The two experts start off by exploring Seth's personal journey into psychotherapy and the influences that led him to attachment theory. As they unravel the nuances of secure and anxious attachments, the pair also discuss the impact of attachment styles on relationships, parenting, and mental health interventions. With Seth sharing personal struggles and professional insights, the episode becomes an enlightening blend of narrative and knowledge. The conversation ventures into the realms of dialogical practices and wisdom cultivation, touching upon the emotional and physiological aspects of human bonding.    Resources John Vervaeke: Website | Patreon | Facebook | X | YouTube Seth Allison: Grow Collective | LinkedIn The Vervaeke Foundation   Workshops Wise Attachment – Sunday, November 12th, 2023 – 10:00am to 12:00pm EST – Event and Registration Link: https://awakentomeaning.com/event/wise-attachment/ IFS Workshop – Sunday, December 10th, 2023 – 10:00am to 12:00pm EST – Event and Registration Link: https://awakentomeaning.com/event/ifs-workshop/   Books Assessing Adult Attachment: A Dynamic-Maturational Approach to Discourse Analysis - Patricia McKinsey Crittenden, Andrea Landini   Timecodes 00:00:00 — Dr. John Vervaeke introduces Seth Allison and sets the stage for the episode. 00:01:01 — Seth shares his journey into psychotherapy and its influences. 00:08:38 — Seth discusses the concept of an infant's experience of hunger. 00:10:00 — Introduction to the three steps of understanding attachment theory. 00:16:20 — A deep dive into the concept of information processing in attachment. 00:20:29 — Vervaeke highlights the cultural misconceptions surrounding attachment as dependence. 00:30:15 — Seth Allison describes the emotional regulation between a mother and her child. 00:35:40 — Discussion on disconnection from internal data in children. 00:40:30 — John Vervaeke shares his personal realization of having an anxious attachment style. 00:43:20 — Seth gives a practical example of attachment anxiety in relationships. 00:51:40 — Discussion on how culture can misreward attachment strategies. 00:54:58 — Seth opens up about his personal struggles with mental health. 00:57:40 — Seth talks about the change in his approach to therapy. 01:03:40 — The conversation ventures into Emotion-Focused Therapy (EFT). 01:09:18 — John introduces the concept of false normativity. 01:12:10 — Exploring the role of relationships in personal growth. 01:14:00 — Announcement of a Part 2 episode focusing on dialogical practices. 01:19:00 — Vervaeke hints at a future discussion about ally work and IFS.  

Trigger Warning: Discussions around suicide and self-harm. This episode contains sensitive subject matter that may be triggering to some listeners. If you or anyone you know needs help, please call 988....Don't miss out on free gifts from Therapy Talks!

Many people have been in therapy, often for a long time, but haven't gotten the results they expected. If you're tired of endlessly analyzing yourself without experiencing true inner peace, this clip is for you. You're not alone. Many people have done a lot of therapy without achieving the results they had hoped for. This thought-provoking episode challenges the conventional wisdom surrounding therapy and self-improvement and why many people don't get the progress they yearn for.If you're ready to step out of the exhausting cycle of self-analysis and embrace a holistic approach to self-discovery, this episode is a must-listen. It's time to explore a new paradigm for personal authenticity, one that truly empowers you to know yourself and transform your life from the inside out.

Jerry Zaks currently directs his 26th Broadway show, The Music Man. He has received four Tony Awards and been nominated eight times. He's also received four Drama Desks, two Outer Critics Circle Awards, and an Obie. His credits include Mrs. Doubtfire, Hello, Dolly!, A Bronx Tale: the musical, Steve Martin's Meteor Shower, Nantucket Sleigh Ride, Shows For Days, Sister Act, The Addams Family, Guys and Dolls, Six Degrees of Separation, Lend Me a Tenor, House of Blue Leaves, The Front Page, A Funny Thing...Forum, Smokey Joe's Café, Anything Goes, La Cage aux Folles, Little Shop of Horrors, The Man Who Came to Dinner, The Foreigner, A Bronx Tale, Laughter on the 23rd Floor, and the original production of Assassins. He began his career directing the extraordinary plays of Christopher Durang including Sister Mary Ignatius..., Beyond Therapy, Baby with the Bath Water, and The Marriage of Bette and Boo. He directed the award-winning film Marvin's Room, starring Meryl Streep and Diane Keaton; and Who Do You Love, which was featured in the Toronto Film Festival. Mr. Zaks is a founding member, and serves on the board, of the Ensemble Studio Theater. He received the SDC's George Abbott Award for Lifetime Achievement in the Theatre. Philanthropic/Activist Causes: Ensemble Studio Theatre

On this episode, we talk about the great American filmmaker Robert Altman, and what is arguably the worst movie of his six decade, thirty-five film career: his 1987 atrocity O.C. and Stiggs. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we're going to talk about one of the strangest movies to come out of the decade, not only for its material, but for who directed it.   Robert Altman's O.C. and Stiggs.   As always, before we get to the O.C. and Stiggs, we will be going a little further back in time.   Although he is not every cineaste's cup of tea, it is generally acknowledged that Robert Altman was one of the best filmmakers to ever work in cinema. But he wasn't an immediate success when he broke into the industry.   Born in Kansas City in February 1925, Robert Altman would join the US Army Air Force after graduating high school, as many a young man would do in the days of World War II. He would train to be a pilot, and he would fly more than 50 missions during the war as part of the 307th Bomb Group, operating in the Pacific Theatre. They would help liberate prisoners of war held in Japanese POW Camps from Okinawa to Manila after the victory over Japan lead to the end of World War II in that part of the world.   After the war, Altman would move to Los Angeles to break into the movies, and he would even succeed in selling a screenplay to RKO Pictures called Bodyguard, a film noir story shot in 1948 starring Lawrence Tierney and Priscilla Lane, but on the final film, he would only share a “Story by” credit with his then-writing partner, George W. George. But by 1950, he'd be back in Kansas City, where he would direct more than 65 industrial films over the course of three years, before heading back to Los Angeles with the experience he would need to take another shot.   Altman would spend a few years directing episodes of a drama series called Pulse of the City on the DuMont television network and a syndicated police drama called The Sheriff of Cochise, but he wouldn't get his first feature directing gig until 1957, when a businessman in Kansas City would hire the thirty-two year old to write and direct a movie locally. That film, The Delinquents, cost only $60k to make, and would be purchased for release by United Artists for $150k. The first film to star future Billy Jack writer/director/star Tom Laughlin, The Delinquents would gross more than a million dollars in theatres, a very good sum back in those days, but despite the success of the film, the only work Altman could get outside of television was co-directing The James Dean Story, a documentary set up at Warner Brothers to capitalize on the interest in the actor after dying in a car accident two years earlier.   Throughout the 1960s, Altman would continue to work in television, until he was finally given another chance to direct a feature film. 1967's Countdown was a lower budgeted feature at Warner Brothers featuring James Caan in an early leading role, about the space race between the Americans and Soviets, a good two years before Neil Armstrong and Buzz Aldrin landed on the moon. The shoot itself was easy, but Altman would be fired from the film shortly after filming was completed, as Jack Warner, the 75 year old head of the studio, was not very happy about the overlapping dialogue, a motif that would become a part of Altman's way of making movies. Although his name appears in the credits as the director of the film, he had no input in its assembly. His ambiguous ending was changed, and the film would be edited to be more family friendly than the director intended.   Altman would follow Countdown with 1969's That Cold Day in the Park, a psychological drama that would be both a critical and financial disappointment.   But his next film would change everything.   Before Altman was hired by Twentieth-Century Fox to direct MASH, more than a dozen major filmmakers would pass on the project. An adaptation of a little known novel by a Korean War veteran who worked as a surgeon at one of the Mobile Auxiliary Surgical Hospitals that give the story its acronymic title, MASH would literally fly under the radar from the executives at the studio, as most of the $3m film would be shot at the studio's ranch lot in Malibu, while the executives were more concerned about their bigger movies of the year in production, like their $12.5m biographical film on World War II general George S. Patton and their $25m World War II drama Tora! Tora! Tora!, one of the first movies to be a Japanese and American co-production since the end of the war.    Altman was going to make MASH his way, no matter what. When the studio refused to allow him to hire a fair amount of extras to populate the MASH camp, Altman would steal individual lines from other characters to give to background actors, in order to get the bustling atmosphere he wanted. In order to give the camp a properly dirty look, he would shoot most of the outdoor scenes with a zoom lens and a fog filter with the camera a reasonably far distance from the actors, so they could act to one another instead of the camera, giving the film a sort of documentary feel. And he would find flexibility when the moment called for it. Sally Kellerman, who was hired to play Margaret “Hot Lips” Houlihan, would work with Altman to expand and improve her character to be more than just eye candy, in large part because Altman liked what she was doing in her scenes.   This kind of flexibility infuriated the two major stars of the film, Elliott Gould and Donald Sutherland, who at one point during the shoot tried to get Altman fired for treating everyone in the cast and crew with the same level of respect and decorum regardless of their position. But unlike at Warners a couple years earlier, the success of movies like Bonnie and Clyde and Easy Rider bamboozled Hollywood studio executives, who did not understand exactly what the new generation of filmgoers wanted, and would often give filmmakers more leeway than before, in the hopes that lightning could be captured once again.   And Altman would give them exactly that.   MASH, which would also be the first major studio film to be released with The F Word spoken on screen, would not only become a critical hit, but become the third highest grossing movie released in 1970, grossing more than $80m. The movie would win the Palme D'Or at that year's Cannes Film Festival, and it would be nominated for five Academy Awards, including Best Picture, Best Director and Best Supporting Actress for Ms. Kellerman, winning only for Best Adapted Screenplay. An ironic win, since most of the dialogue was improvised on set, but the victory for screenwriter Ring Lardner Jr. would effectively destroy the once powerful Hollywood Blacklist that had been in place since the Red Scare of the 1950s.   After MASH, Altman went on one of the greatest runs any filmmaker would ever enjoy.   MASH would be released in January 1970, and Altman's follow up, Brewster McCloud, would be released in December 1970. Bud Cort, the future star of Harold and Maude, plays a recluse who lives in the fallout shelter of the Houston Astrodome, who is building a pair of wings in order to achieve his dream of flying. The film would feature a number of actors who already were featured in MASH and would continue to be featured in a number of future Altman movies, including Sally Kellerman, Michael Murphy, John Schuck and Bert Remson, but another reason to watch Brewster McCloud if you've never seen it is because it is the film debut of Shelley Duvall, one of our greatest and least appreciated actresses, who would go on to appear in six other Altman movies over the ensuing decade.   1971's McCabe and Mrs. Miller, for me, is his second best film. A Western starring Warren Beatty and Julie Christie, was a minor hit when it was first released but has seen a reevaluation over the years that found it to be named the 8th Best Western of all time by the American Film Institute, which frankly is too low for me. The film would also bring a little-known Canadian poet and musician to the world, Leonard Cohen, who wrote and performed three songs for the soundtrack. Yeah, you have Robert Altman to thank for Leonard Cohen.   1972's Images was another psychological horror film, this time co-written with English actress Susannah York, who also stars in the film as an author of children's books who starts to have wild hallucinations at her remote vacation home, after learning her husband might be cheating on her. The $800k film was one of the first to be produced by Hemdale Films, a British production company co-founded by Blow Up actor David Hemmings, but the film would be a critical and financial disappointment when it was released Christmas week. But it would get nominated for an Academy Award for Best Original Dramatic Score. It would be one of two nominations in the category for John Williams, the other being The Poseidon Adventure.   Whatever resentment Elliott Gould may have had with Altman during the shooting of MASH was gone by late 1972, when the actor agreed to star in the director's new movie, a modern adaptation of Raymond Chandler's 1953 novel The Long Goodbye. Gould would be the eighth actor to play the lead character, Phillip Marlowe, in a movie. The screenplay would be written by Leigh Brackett, who Star Wars nerds know as the first writer on The Empire Strikes Back but had also adapted Chandler's novel The Big Sleep, another Phillip Marlowe story, to the big screen back in 1946.   Howard Hawks and Peter Bogdanovich had both been approached to make the film, and it would be Bogdanovich who would recommend Altman to the President of United Artists. The final film would anger Chandler fans, who did not like Altman's approach to the material, and the $1.7m film would gross less than $1m when it was released in March 1973. But like many of Altman's movies, it was a big hit with critics, and would find favor with film fans in the years to come.   1974 would be another year where Altman would make and release two movies in the same calendar year. The first, Thieves Like Us, was a crime drama most noted as one of the few movies to not have any kind of traditional musical score. What music there is in the film is usually heard off radios seen in individual scenes. Once again, we have a number of Altman regulars in the film, including Shelley Duvall, Bert Remsen, John Schuck and Tom Skerritt, and would feature Keith Carradine, who had a small co-starring role in McCabe and Mrs. Miller, in his first major leading role. And, once again, the film would be a hit with critics but a dud with audiences. Unlike most of Altman's movies of the 1970s, Thieves Like Us has not enjoyed the same kind of reappraisal.   The second film, California Split, was released in August, just six months after Thieves Like Us. Elliott Gould once again stars in a Robert Altman movie, this time alongside George Segal. They play a pair of gamblers who ride what they think is a lucky streak from Los Angeles to Reno, Nevada, would be the only time Gould and Segal would work closely together in a movie, and watching California Split, one wishes there could have been more. The movie would be an innovator seemingly purpose-build for a Robert Altman movie, for it would be the first non-Cinerama movie to be recorded using an eight track stereo sound system. More than any movie before, Altman could control how his overlapping dialogue was placed in a theatre. But while most theatres that played the movie would only play it in mono sound, the film would still be a minor success, bringing in more than $5m in ticket sales.   1975 would bring what many consider to be the quintessential Robert Altman movie to screens.   The two hour and forty minute Nashville would feature no less than 24 different major characters, as a group of people come to Music City to be involved in a gala concert for a political outsider who is running for President on the Replacement Party ticket. The cast is one of the best ever assembled for a movie ever, including Ned Beatty, Karen Black, Ronee Blakely, Keith Carradine, Geraldine Chaplin, Robert DoQui, Shelley Duvall, Allen Garfield, Henry Gibson, Scott Glenn, Jeff Goldblum, Barbara Harris, Cristina Raines, Lily Tomlin and Keenan Wynn.   Altman would be nominated for two Academy Awards for the film, Best Picture, as its producer, and Best Director, while both Ronee Blakely and Lily Tomlin would be nominated for Best Supporting Actress. Keith Carradine would also be nominated for an Oscar, but not as an actor. He would, at the urging of Altman during the production of the film, write and perform a song called I'm Easy, which would win for Best Original Song. The $2.2m film would earn $10m in ticket sales, and would eventually become part of the fourth class of movies to be selected for preservation by the National Film Registry in 1991, the first of four Robert Altman films to be given that honor. MASH, McCabe and Mrs. Miller, and The Long Goodbye would also be selected for preservation over the years.   And we're going to stop here for a second and take a look at that list of films again.   MASH Brewster McCloud McCabe and Mrs. Miller Images The Long Goodbye Thieves Like Us California Split Nashville   Eight movies, made over a five year period, that between them earned twelve Academy Award nominations, four of which would be deemed so culturally important that they should be preserved for future generations.   And we're still only in the middle of the 1970s.   But the problem with a director like Robert Altman, like many of our greatest directors, their next film after one of their greatest successes feels like a major disappointment. And his 1976 film Buffalo Bill and the Indians, or Sitting Bull's History Lesson, and that is the complete title of the film by the way, did not meet the lofty expectations of film fans not only its director, but of its main stars. Altman would cast two legendary actors he had not yet worked with, Paul Newman and Burt Lancaster, and the combination of those two actors with this director should have been fantastic, but the results were merely okay. In fact,  Altman would, for the first time in his career, re-edit a film after its theatrical release, removing some of the Wild West show acts that he felt were maybe redundant.   His 1977 film 3 Women would bring Altman back to the limelight. The film was based on a dream he had one night while his wife was in the hospital. In the dream, he was directing his regular co-star Shelley Duvall alongside Sissy Spacek, who he had never worked with before, in a story about identity theft that took place in the deserts outside Los Angeles. He woke up in the middle of the dream, jotted down what he could remember, and went back to sleep. In the morning, he didn't have a full movie planned out, but enough of one to get Alan Ladd, Jr., the President of Twentieth-Century Fox, to put up $1.7m for a not fully formed idea. That's how much Robert Altman was trusted at the time. That, and Altman was known for never going over budget. As long as he stayed within his budget, Ladd would let Altman make whatever movie he wanted to make. That, plus Ladd was more concerned about a $10m movie he approved that was going over budget over in England, a science fiction movie directed by the guy who did American Graffiti that had no stars outside of Sir Alec Guinness.   That movie, of course, was Star Wars, which would be released four weeks after 3 Women had its premiere in New York City. While the film didn't make 1/100th the money Star Wars made, it was one of the best reviewed movies of the year. But, strangely, the film would not be seen again outside of sporadic screenings on cable until it was released on DVD by the Criterion Collection 27 years later.   I'm not going to try and explain the movie to you. Just trust me that 3 Women is from a master craftsman at the top of his game.   While on the press tour to publicize 3 Women, a reporter asked Altman what was going to be next for him. He jokingly said he was going to shoot a wedding. But then he went home, thought about it some more, and in a few weeks, had a basic idea sketched out for a movie titled A Wedding that would take place over the course of one day, as the daughter of a Southern nouveau riche family marries the son of a wealthy Chicago businessman who may or may not a major figure in The Outfit.   And while the film is quite entertaining, what's most interesting about watching this 1978 movie in 2023 is not only how many great established actors Altman got for the film, including Carol Burnett, Paul Dooley, Howard Duff, Mia Farrow, Vittorio Gassman, Lauren Hutton, and, in her 100th movie, Lillian Gish, but the number of notable actors he was able to get because he shot the film just outside Chicago. Not only will you see Dennis Christopher just before his breakthrough in Breaking Away, and not only will you see Pam Dawber just before she was cast alongside Robin Williams in Mark and Mindy, but you'll also see Dennis Franz, Laurie Metcalfe, Gary Sinese, Tim Thomerson, and George Wendt.   And because Altman was able to keep the budget at a reasonable level, less than $1.75m, the film would be slightly profitable for Twentieth Century-Fox after grossing $3.6m at the box office.   Altman's next film for Fox, 1979's Quintet, would not be as fortunate.   Altman had come up with the story for this post-apocalyptic drama as a vehicle for Walter Hill to write and direct. But Hill would instead make The Warriors, and Altman decided to make the film himself. While developing the screenplay with his co-writers Frank Barhydt and Patricia Resnick, Altman would create a board game, complete with token pieces and a full set of rules, to flesh out the storyline.   Altman would once again work with Paul Newman, who stars as a seal hunter in the early days of a new ice age who finds himself in elaborate game with a group of gamblers where losing in the game means losing your life in the process. Altman would deliberately hire an international cast to star alongside Newman, not only to help improve the film's ability to do well in foreign territories but to not have the storyline tied to any specific country. So we would have Italian actor Vittorio Gassman, Spaniard Fernando Rey, Swedish actress Bibi Andersson, French actress Brigitte Fossey, and Danish actress Nina van Pallandt.    In order to maintain the mystery of the movie, Altman would ask Fox to withhold all pre-release publicity for the film, in order to avoid any conditioning of the audience. Imagine trying to put together a compelling trailer for a movie featuring one of the most beloved actors of all time, but you're not allowed to show potential audiences what they're getting themselves into? Altman would let the studio use five shots from the film, totaling about seven seconds, for the trailer, which mostly comprised of slo-mo shots of a pair of dice bouncing around, while the names of the stars pop up from moment to moment and a narrator tries to create some sense of mystery on the soundtrack.   But audiences would not be intrigued by the mystery, and critics would tear the $6.4m budget film apart. To be fair, the shoot for the film, in the winter of 1977 outside Montreal was a tough time for all, and Altman would lose final cut on the film for going severely over-budget during production, although there seems to be very little documentation about how much the final film might have differed from what Altman would have been working on had he been able to complete the film his way.   But despite all the problems with Quintet, Fox would still back Altman's next movie, A Perfect Couple, which would be shot after Fox pulled Altman off Quintet. Can you imagine that happening today? A director working with the studio that just pulled them off their project. But that's how little ego Altman had. He just wanted to make movies. Tell stories. This simple romantic comedy starred his regular collaborator Paul Dooley as  Alex, a man who follows a band of traveling bohemian musicians because he's falling for one of the singers in the band.   Altman kept the film on its $1.9m budget, but the response from critics was mostly concern that Altman had lost his touch. Maybe it was because this was his 13th film of the decade, but there was a serious concern about the director's ability to tell a story had evaporated.   That worry would continue with his next film, Health.   A satire of the political scene in the United States at the end of the 1970s, Health would follow a health food organization holding a convention at a luxury hotel in St. Petersburg FL. As one would expect from a Robert Altman movie, there's one hell of a cast. Along with Henry Gibson, and Paul Dooley, who co-write the script with Altman and Frank Barhydt, the cast would include Lauren Bacall, Carol Burnett, James Garner and, in one of her earliest screen appearances, Alfre Woodard, as well as Dick Cavett and Dinah Shore as themselves.   But between the shooting of the film in the late winter and early spring of 1979 and the planned Christmas 1979 release, there was a change of management at Fox. Alan Ladd Jr. was out, and after Altman turned in his final cut, new studio head Norman Levy decided to pull the film off the 1979 release calendar. Altman fought to get the film released sometime during the 1980 Presidential Campaign, and was able to get Levy to give the film a platform release starting in Los Angeles and New York City in March 1980, but that date would get cancelled as well. Levy then suggested an April 1980 test run in St. Louis, which Altman was not happy with. Altman countered with test runs in Boston, Houston, Sacramento and San Francisco. The best Altman, who was in Malta shooting his next movie, could get were sneak previews of the film in those four markets, and the response cards from the audience were so bad, the studio decided to effectively put the film on the proverbial shelf.   Back from the Mediterranean Sea, Altman would get permission to take the film to the Montreal World Film Festival in August, and the Telluride and Venice Film Festivals in September. After good responses from film goers at those festivals, Fox would relent, and give the film a “preview” screening at the United Artists Theatre in Westwood, starting on September 12th, 1980. But the studio would give the film the most boring ad campaign possible, a very crude line drawing of an older woman's pearl bracelet-covered arm thrusted upward while holding a carrot. With no trailers in circulation at any theatre, and no television commercials on air, it would be little surprise the film didn't do a whole lot of business. You really had to know the film had been released. But its $14k opening weekend gross wasn't really all that bad. And it's second week gross of $10,500 with even less ad support was decent if unspectacular. But it would be good enough to get the film a four week playdate at the UA Westwood.   And then, nothing, until early March 1981, when a film society at Northwestern University in Evanston IL was able to screen a 16mm print for one show, while a theatre in Baltimore was able to show the film one time at the end of March. But then, nothing again for more than another year, when the film would finally get a belated official release at the Film Forum in New York City on April 7th, 1982. It would only play for a week, and as a non-profit, the Film Forum does not report film grosses, so we have no idea how well the film actually did. Since then, the movie showed once on CBS in August 1983, and has occasionally played on the Fox Movie Channel, but has never been released on VHS or DVD or Blu-Ray.   I mentioned a few moments ago that while he was dealing with all this drama concerning Health, Altman was in the Mediterranean filming a movie. I'm not going to go too much into that movie here, since I already have an episode for the future planned for it, suffice to say that a Robert Altman-directed live-action musical version of the Popeye the Sailor Man cartoon featuring songs by the incomparable Harry Nilsson should have been a smash hit, but it wasn't. It was profitable, to be certain, but not the hit everyone was expecting. We'll talk about the film in much more detail soon.   After the disappointing results for Popeye, Altman decided to stop working in Hollywood for a while and hit the Broadway stages, to direct a show called Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean. While the show's run was not very long and the reviews not very good, Altman would fund a movie version himself, thanks in part to the sale of his production company, Lion's Gate, not to be confused with the current studio called Lionsgate, and would cast Karen Black, Cher and Sandy Dennis alongside newcomers Sudie Bond and Kathy Bates, as five female members of The Disciples of James Dean come together on the 20th anniversary of the actor's death to honor his life and times. As the first film released by a new independent distributor called Cinecom, I'll spend more time talking about this movie on our show about that distributor, also coming soon, suffice it to say that Altman was back. Critics were behind the film, and arthouse audiences loved it. This would be the first time Altman adapted a stage play to the screen, and it would set the tone for a number of his works throughout the rest of the decade.   Streamers was Altman's 17th film in thirteen years, and another adaptation of a stage play. One of several works by noted Broadway playwright David Rabe's time in the Army during the Vietnam War, the film followed four young soldiers waiting to be shipped to Vietnam who deal with racial tensions and their own intolerances when one soldier reveals he is gay. The film featured Matthew Modine as the Rabe stand-in, and features a rare dramatic role for comedy legend David Alan Grier. Many critics would note how much more intense the film version was compared to the stage version, as Altman's camera was able to effortlessly breeze around the set, and get up close and personal with the performers in ways that simply cannot happen on the stage. But in 1983, audiences were still not quite ready to deal with the trauma of Vietnam on film, and the film would be fairly ignored by audiences, grossing just $378k.   Which, finally, after half an hour, brings us to our featured movie.   O.C. and Stiggs.   Now, you might be asking yourself why I went into such detail about Robert Altman's career, most of it during the 1970s. Well, I wanted to establish what types of material Altman would chose for his projects, and just how different O.C. and Stiggs  was from any other project he had made to date.   O.C. and Stiggs began their lives in the July 1981 issue of National Lampoon, as written by two of the editors of the magazine, Ted Mann and Tod Carroll. The characters were fun-loving and occasionally destructive teenage pranksters, and their first appearance in the magazine would prove to be so popular with readers, the pair would appear a few more times until Matty Simmons, the publisher and owner of National Lampoon, gave over the entire October 1982 issue to Mann and Carroll for a story called “The Utterly Monstrous Mind-Roasting Summer of O.C. and Stiggs.” It's easy to find PDFs of the issues online if you look for it.   So the issue becomes one of the biggest selling issues in the history of National Lampoon, and Matty Simmons has been building the National Lampoon brand name by sponsoring a series of movies, including Animal House, co-written by Lampoon writers Doug Kenney and Chris Miller, and the soon to be released movies Class Reunion, written by Lampoon writer John Hughes… yes, that John Hughes… and Movie Madness, written by five Lampoon writers including Tod Carroll. But for some reason, Simmons was not behind the idea of turning the utterly monstrous mind-roasting adventures of O.C. and Stiggs into a movie. He would, however, allow Mann and Carroll to shop the idea around Hollywood, and wished them the best of luck.   As luck would have it, Mann and Carroll would meet Peter Newman, who had worked as Altman's production executive on Jimmy Dean, and was looking to set up his first film as a producer. And while Newman might not have had the credits, he had the connections. The first person he would take the script to his Oscar-winning director Mike Nichols, whose credits by this time included Who's Afraid of Virginia Wolff?, The Graduate, Catch-22, and Carnal Knowledge. Surprisingly, Nichols was not just interested in making the movie, but really wanted to have Eddie Murphy, who was a breakout star on Saturday Night Live but was still a month away from becoming a movie star when 48 Hours was released, play one of the leading characters. But Murphy couldn't get out of his SNL commitments, and Nichols had too many other projects, both on Broadway and in movies, to be able to commit to the film.    A few weeks later, Newman and Altman both attended a party where they would catch up after several months. Newman started to tell Altman about this new project he was setting up, and to Newman's surprise, Altman, drawn to the characters' anti-establishment outlook, expressed interest in making it. And because Altman's name still commanded respect in Hollywood, several studios would start to show their interest in making the movie with them. MGM, who was enjoying a number of successes in 1982 thanks to movies like Shoot the Moon, Diner, Victor/Victoria, Rocky III, Poltergeist, Pink Floyd - The Wall, and My Favorite Year, made a preemptive bid on the film, hoping to beat Paramount Pictures to the deal. Unknown to Altman, what interested MGM was that Sylvester Stallone of all people went nuts for the script when he read it, and mentioned to his buddies at the studio that he might be interested in making it himself.   Despite hating studio executives for doing stuff like buying a script he's attached to  then kicking him off so some Italian Stallion not known for comedy could make it himself, Altman agree to make the movie with MGM once Stallone lost interest, as the studio promised there would be no further notes about the script, that Altman could have final cut on the film, that he could shoot the film in Phoenix without studio interference, and that he could have a budget of $7m.   Since this was a Robert Altman film, the cast would be big and eclectic, filled with a number of his regular cast members, known actors who he had never worked with before, and newcomers who would go on to have success a few years down the road. Because, seriously, outside of a Robert Altman movie, where are you going to find a cast that included Jon Cryer, Jane Curtin, Paul Dooley, Dennis Hopper, Tina Louise, Martin Mull, Cynthia Nixon, Bob Uecker, Melvin van Peebles, and King Sunny Adé and His African Beats? And then imagine that movie also featuring Matthew Broderick, Jim Carrey, Robert Downey, Jr. and Laura Dern?   The story for the film would both follow the stories that appeared in the pages of National Lampoon fairly closely while also making some major changes. In the film, Oliver Cromwell “O.C.” Oglivie and Mark Stiggs are two ne'er-do-well, middle-class Phoenix, Arizona high school students who are disgusted with what they see as an omnipresent culture of vulgar and vapid suburban consumerism. They spend their days slacking off and committing pranks or outright crimes against their sworn enemies, the Schwab family, especially family head Randall Schwab, a wealthy insurance salesman who was responsible for the involuntary commitment of O.C.'s grandfather into a group home. During the film, O.C. and Stiggs will ruin the wedding of Randall Schwab's daughter Lenore, raft their way down to a Mexican fiesta, ruin a horrible dinner theatre performance directed by their high school's drama teacher being attended by the Schwabs, and turn the Schwab mansion into a homeless shelter while the family is on vacation. The film ends with O.C. and Stiggs getting into a gun fight with Randall Schwab before being rescued by Dennis Hopper and a helicopter, before discovering one of their adventures that summer has made them very wealthy themselves.   The film would begin production in Phoenix on August 22nd, 1983, with two newcomers, Daniel H. Jenkins and Neill Barry, as the titular stars of the film. And almost immediately, Altman's chaotic ways of making a movie would become a problem. Altman would make sure the entire cast and crew were all staying at the same hotel in town, across the street from a greyhound racetrack, so Altman could take off to bet on a few of the races during production downtime, and made sure the bar at the hotel was an open bar for his team while they were shooting. When shooting was done every day, the director and his cast would head to a makeshift screening room at the hotel, where they'd watch the previous day's footage, a process called “dailies” in production parlance. On most films, dailies are only attended by the director and his immediate production crew, but in Phoenix, everyone was encouraged to attend. And according to producer Peter Newman and Dan Jenkins, everyone loved the footage, although both would note that it might have been a combination of the alcohol, the pot, the cocaine and the dehydration caused by shooting all day in the excessive Arizona heat during the middle of summer that helped people enjoy the footage.    But here's the funny thing about dailies.   Unless a film is being shot in sequence, you're only seeing small fragments of scenes, often the same actors doing the same things over and over again, before the camera switches places to catch reactions or have other characters continue the scene. Sometimes, they're long takes of scenes that might be interrupted by an actor flubbing a line or an unexpected camera jitter or some other interruption that requires a restart. But everyone seemed to be having fun, especially when dailies ended and Altman would show one of his other movies like MASH or The Long Goodbye or 3 Women.   After two months of shooting, the film would wrap production, and Altman would get to work on his edit of the film. He would have it done before the end of 1983, and he would turn it in to the studio. Shortly after the new year, there would be a private screening of the film in New York City at the offices of the talent agency William Morris, one of the larger private screening rooms in the city. Altman was there, the New York-based executives at MGM were there, Peter Newman was there, several of the actors were there. And within five minutes of the start of the film, Altman realized what he was watching was not his cut of the film. As he was about to lose his stuff and start yelling at the studio executives, the projector broke. The lights would go up, and Altman would dig into the the executives. “This is your effing cut of the film and not mine!” Altman stormed out of the screening and into the cold New York winter night.   A few weeks later, that same print from New York would be screened for the big executives at the MGM lot in Los Angeles. Newman was there, and, surprisingly, Altman was there too. The film would screen for the entire running length, and Altman would sit there, watching someone else's version of the footage he had shot, scenes put in different places than they were supposed to be, music cues not of his design or consent.   At the end of the screening, the room was silent. Not one person in the room had laughed once during the entire screening. Newman and Altman left after the screening, and hit one of Altman's favorite local watering holes. As they said their goodbyes the next morning, Altman apologized to Newman. “I hope I didn't eff up your movie.”   Maybe the movie wasn't completely effed up, but MGM certainly neither knew what to do with the film or how to sell it, so it would just sit there, just like Health a few years earlier, on that proverbial shelf.   More than a year later, in an issue of Spin Magazine, a review of the latest album by King Sunny Adé would mention the film he performed in, O.C. and Stiggs, would, quote unquote, “finally” be released into theatres later that year.   That didn't happen, in large part because after WarGames in the early summer of 1983, almost every MGM release had been  either an outright bomb or an unexpected financial disappointment. The cash flow problem was so bad that the studio effectively had to sell itself to Atlanta cable mogul Ted Turner in order to save itself. Turner didn't actually want all of MGM. He only wanted the valuable MGM film library, but the owner of MGM at the time was either going to sell it all or nothing at all.   Barely two months after Ted Turner bought MGM, he had sold the famed studio lot in Culver City to Lorimar, a television production company that was looking to become a producer and distributor of motion pictures, and sold rest of the company he never wanted in the first place to the guy he bought it all from, who had a kind of seller's remorse. But that repurchase would saddle the company with massive bills, and movies like O.C. and Stiggs would have to sit and collect dust while everything was sorted out.   How long would O.C. and Stiggs be left in a void?   It would be so long that Robert Altman would have time to make not one, not two, but three other movies that would all be released before O.C. and Stiggs ever saw the light of day.   The first, Secret Honor, released in 1984, featured the great Philip Baker Hall as former President Richard Nixon. It's probably Hall's single best work as an actor, and the film would be amongst the best reviewed films of Altman's career.   In 1985, Altman would film Fool For Love, an adaptation of a play by Sam Shepard. This would be the only time in Shepard's film career where he would star as one of the characters himself had written. The film would also prove once and for all that Kim Basinger was more than just a pretty face but a real actor.   And in February 1987, Altman's film version of Beyond Therapy, a play by absurdist playwright Christopher Durant, would open in theatres. The all-star cast would include Tom Conti, Jeff Goldblum, Christopher Guest, Julie Hagerty and Glenda Jackson.   On March 5th, 1987, an article in Daily Variety would note that the “long shelved” film would have a limited theatrical release in May, despite the fact that Frank Yablans, the vice chairman of MGM, being quoted in the article that the film was unreleasable. It would further be noted that despite the film being available to international distributors for three years, not one company was willing to acquire the film for any market. The plan was to release the movie for one or two weeks in three major US markets, depending on its popularity, and then decide a future course of action from there.   But May would come and go, without a hint of the film.   Finally, on Friday, July 10th, the film would open on 18 screens, but none in any major market like Chicago, Los Angeles or New York City. I can't find a single theatre the film played in that weekend, but that week's box office figures would show an abysmal $6,273 worth of tickets were sold during that first weekend.   There would not be a second weekend of reported grosses.   But to MGM's credit, they didn't totally give up on the film.   On Thursday, August 27th, O.C. and Stiggs would open in at least one theatre. And, lucky for me, that theatre happened to be the Nickelodeon Theatre in Santa Cruz. But despite the fact that the new Robert Altman was opening in town, I could not get a single friend to see it with me. So on a Tuesday night at 8:40pm, I was the only person in all of the region to watch what I would soon discover was the worst Robert Altman movie of all time. Now, I should note that even a bad Robert Altman movie is better than many filmmakers' best movies, but O.C. and Stiggs would have ignobility of feeling very much like a Robert Altman movie, with its wandering camera and overlapping dialogue that weaves in and out of conversations while in progress and not quite over yet, yet not feeling anything like a Robert Altman movie at the same time. It didn't have that magical whimsy-ness that was the hallmark of his movies. The satire didn't have its normal bite. It had a number of Altman's regular troop of actors, but in smaller roles than they'd usually occupy, and not giving the performances one would expect of them in an Altman movie.   I don't know how well the film did at the Nick, suffice it to say the film was gone after a week.   But to MGM's credit, they still didn't give up on the film.   On October 9th, the film would open at the AMC Century City 14, one of a handful of movies that would open the newest multiplex in Los Angeles.   MGM did not report grosses, and the film was gone from the new multiplex after a week.   But to MGM's credit, they still didn't give up on the film.   The studio would give the film one more chance, opening it at the Film Forum in New York City on March 18th, 1988.   MGM did not report grosses, and the film was gone after a week. But whether that was because MGM didn't support the film with any kind of newspaper advertising in the largest market in America, or because the movie had been released on home video back in November, remains to be seen.   O.C. and Stiggs would never become anything resembling a cult film. It's been released on DVD, and if one was programming a Robert Altman retrospect at a local arthouse movie theatre, one could actually book a 35mm print of the film from the repertory cinema company Park Circus.   But don't feel bad for Altman, as he would return to cinemas with a vengeance in the 1990s, first with the 1990 biographical drama Vincent and Theo, featuring Tim Roth as the tortured genius 19th century painter that would put the actor on the map for good. Then, in 1992, he became a sensation again with his Hollywood satire The Player, featuring Tim Robbins as a murderous studio executive trying to keep the police off his trail while he navigates the pitfalls of the industry. Altman would receive his first Oscar nomination for Best Director since 1975 with The Player, his third overall, a feat he would repeat the following year with Short Cuts, based on a series of short stories by Raymond Carver. In fact, Altman would be nominated for an Academy Award seven times during his career, five times as a director and twice as a producer, although he would never win a competitive Oscar.   In March 2006, while editing his 35th film, a screen adaptation of the then-popular NPR series A Prairie Home Companion, the Academy would bestow an Honorary Oscar upon Altman. During his acceptance speech, Altman would wonder if perhaps the Academy acted prematurely in honoring him in this fashion. He revealed he had received a heart transplant in the mid-1990s, and felt that, even though he had turned 81 the month before, he could continue for another forty years.   Robert Altman would pass away from leukemia on November 20th, 2006, only eight months after receiving the biggest prize of his career.   Robert Altman had a style so unique onto himself, there's an adjective that exists to describe it. Altmanesque. Displaying traits typical of a film made by Robert Altman, typically highly naturalistic, but with a stylized perspective and often a subversive twist.   He truly was a one of a kind filmmaker, and there will likely never be anyone like him, no matter how hard Paul Thomas Anderson tries.     Thank you for joining us. We'll talk again in two weeks, when Episode 106, Mad Magazine Presents Up the Academy, is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.  

On this episode, we talk about the great American filmmaker Robert Altman, and what is arguably the worst movie of his six decade, thirty-five film career: his 1987 atrocity O.C. and Stiggs. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we're going to talk about one of the strangest movies to come out of the decade, not only for its material, but for who directed it.   Robert Altman's O.C. and Stiggs.   As always, before we get to the O.C. and Stiggs, we will be going a little further back in time.   Although he is not every cineaste's cup of tea, it is generally acknowledged that Robert Altman was one of the best filmmakers to ever work in cinema. But he wasn't an immediate success when he broke into the industry.   Born in Kansas City in February 1925, Robert Altman would join the US Army Air Force after graduating high school, as many a young man would do in the days of World War II. He would train to be a pilot, and he would fly more than 50 missions during the war as part of the 307th Bomb Group, operating in the Pacific Theatre. They would help liberate prisoners of war held in Japanese POW Camps from Okinawa to Manila after the victory over Japan lead to the end of World War II in that part of the world.   After the war, Altman would move to Los Angeles to break into the movies, and he would even succeed in selling a screenplay to RKO Pictures called Bodyguard, a film noir story shot in 1948 starring Lawrence Tierney and Priscilla Lane, but on the final film, he would only share a “Story by” credit with his then-writing partner, George W. George. But by 1950, he'd be back in Kansas City, where he would direct more than 65 industrial films over the course of three years, before heading back to Los Angeles with the experience he would need to take another shot.   Altman would spend a few years directing episodes of a drama series called Pulse of the City on the DuMont television network and a syndicated police drama called The Sheriff of Cochise, but he wouldn't get his first feature directing gig until 1957, when a businessman in Kansas City would hire the thirty-two year old to write and direct a movie locally. That film, The Delinquents, cost only $60k to make, and would be purchased for release by United Artists for $150k. The first film to star future Billy Jack writer/director/star Tom Laughlin, The Delinquents would gross more than a million dollars in theatres, a very good sum back in those days, but despite the success of the film, the only work Altman could get outside of television was co-directing The James Dean Story, a documentary set up at Warner Brothers to capitalize on the interest in the actor after dying in a car accident two years earlier.   Throughout the 1960s, Altman would continue to work in television, until he was finally given another chance to direct a feature film. 1967's Countdown was a lower budgeted feature at Warner Brothers featuring James Caan in an early leading role, about the space race between the Americans and Soviets, a good two years before Neil Armstrong and Buzz Aldrin landed on the moon. The shoot itself was easy, but Altman would be fired from the film shortly after filming was completed, as Jack Warner, the 75 year old head of the studio, was not very happy about the overlapping dialogue, a motif that would become a part of Altman's way of making movies. Although his name appears in the credits as the director of the film, he had no input in its assembly. His ambiguous ending was changed, and the film would be edited to be more family friendly than the director intended.   Altman would follow Countdown with 1969's That Cold Day in the Park, a psychological drama that would be both a critical and financial disappointment.   But his next film would change everything.   Before Altman was hired by Twentieth-Century Fox to direct MASH, more than a dozen major filmmakers would pass on the project. An adaptation of a little known novel by a Korean War veteran who worked as a surgeon at one of the Mobile Auxiliary Surgical Hospitals that give the story its acronymic title, MASH would literally fly under the radar from the executives at the studio, as most of the $3m film would be shot at the studio's ranch lot in Malibu, while the executives were more concerned about their bigger movies of the year in production, like their $12.5m biographical film on World War II general George S. Patton and their $25m World War II drama Tora! Tora! Tora!, one of the first movies to be a Japanese and American co-production since the end of the war.    Altman was going to make MASH his way, no matter what. When the studio refused to allow him to hire a fair amount of extras to populate the MASH camp, Altman would steal individual lines from other characters to give to background actors, in order to get the bustling atmosphere he wanted. In order to give the camp a properly dirty look, he would shoot most of the outdoor scenes with a zoom lens and a fog filter with the camera a reasonably far distance from the actors, so they could act to one another instead of the camera, giving the film a sort of documentary feel. And he would find flexibility when the moment called for it. Sally Kellerman, who was hired to play Margaret “Hot Lips” Houlihan, would work with Altman to expand and improve her character to be more than just eye candy, in large part because Altman liked what she was doing in her scenes.   This kind of flexibility infuriated the two major stars of the film, Elliott Gould and Donald Sutherland, who at one point during the shoot tried to get Altman fired for treating everyone in the cast and crew with the same level of respect and decorum regardless of their position. But unlike at Warners a couple years earlier, the success of movies like Bonnie and Clyde and Easy Rider bamboozled Hollywood studio executives, who did not understand exactly what the new generation of filmgoers wanted, and would often give filmmakers more leeway than before, in the hopes that lightning could be captured once again.   And Altman would give them exactly that.   MASH, which would also be the first major studio film to be released with The F Word spoken on screen, would not only become a critical hit, but become the third highest grossing movie released in 1970, grossing more than $80m. The movie would win the Palme D'Or at that year's Cannes Film Festival, and it would be nominated for five Academy Awards, including Best Picture, Best Director and Best Supporting Actress for Ms. Kellerman, winning only for Best Adapted Screenplay. An ironic win, since most of the dialogue was improvised on set, but the victory for screenwriter Ring Lardner Jr. would effectively destroy the once powerful Hollywood Blacklist that had been in place since the Red Scare of the 1950s.   After MASH, Altman went on one of the greatest runs any filmmaker would ever enjoy.   MASH would be released in January 1970, and Altman's follow up, Brewster McCloud, would be released in December 1970. Bud Cort, the future star of Harold and Maude, plays a recluse who lives in the fallout shelter of the Houston Astrodome, who is building a pair of wings in order to achieve his dream of flying. The film would feature a number of actors who already were featured in MASH and would continue to be featured in a number of future Altman movies, including Sally Kellerman, Michael Murphy, John Schuck and Bert Remson, but another reason to watch Brewster McCloud if you've never seen it is because it is the film debut of Shelley Duvall, one of our greatest and least appreciated actresses, who would go on to appear in six other Altman movies over the ensuing decade.   1971's McCabe and Mrs. Miller, for me, is his second best film. A Western starring Warren Beatty and Julie Christie, was a minor hit when it was first released but has seen a reevaluation over the years that found it to be named the 8th Best Western of all time by the American Film Institute, which frankly is too low for me. The film would also bring a little-known Canadian poet and musician to the world, Leonard Cohen, who wrote and performed three songs for the soundtrack. Yeah, you have Robert Altman to thank for Leonard Cohen.   1972's Images was another psychological horror film, this time co-written with English actress Susannah York, who also stars in the film as an author of children's books who starts to have wild hallucinations at her remote vacation home, after learning her husband might be cheating on her. The $800k film was one of the first to be produced by Hemdale Films, a British production company co-founded by Blow Up actor David Hemmings, but the film would be a critical and financial disappointment when it was released Christmas week. But it would get nominated for an Academy Award for Best Original Dramatic Score. It would be one of two nominations in the category for John Williams, the other being The Poseidon Adventure.   Whatever resentment Elliott Gould may have had with Altman during the shooting of MASH was gone by late 1972, when the actor agreed to star in the director's new movie, a modern adaptation of Raymond Chandler's 1953 novel The Long Goodbye. Gould would be the eighth actor to play the lead character, Phillip Marlowe, in a movie. The screenplay would be written by Leigh Brackett, who Star Wars nerds know as the first writer on The Empire Strikes Back but had also adapted Chandler's novel The Big Sleep, another Phillip Marlowe story, to the big screen back in 1946.   Howard Hawks and Peter Bogdanovich had both been approached to make the film, and it would be Bogdanovich who would recommend Altman to the President of United Artists. The final film would anger Chandler fans, who did not like Altman's approach to the material, and the $1.7m film would gross less than $1m when it was released in March 1973. But like many of Altman's movies, it was a big hit with critics, and would find favor with film fans in the years to come.   1974 would be another year where Altman would make and release two movies in the same calendar year. The first, Thieves Like Us, was a crime drama most noted as one of the few movies to not have any kind of traditional musical score. What music there is in the film is usually heard off radios seen in individual scenes. Once again, we have a number of Altman regulars in the film, including Shelley Duvall, Bert Remsen, John Schuck and Tom Skerritt, and would feature Keith Carradine, who had a small co-starring role in McCabe and Mrs. Miller, in his first major leading role. And, once again, the film would be a hit with critics but a dud with audiences. Unlike most of Altman's movies of the 1970s, Thieves Like Us has not enjoyed the same kind of reappraisal.   The second film, California Split, was released in August, just six months after Thieves Like Us. Elliott Gould once again stars in a Robert Altman movie, this time alongside George Segal. They play a pair of gamblers who ride what they think is a lucky streak from Los Angeles to Reno, Nevada, would be the only time Gould and Segal would work closely together in a movie, and watching California Split, one wishes there could have been more. The movie would be an innovator seemingly purpose-build for a Robert Altman movie, for it would be the first non-Cinerama movie to be recorded using an eight track stereo sound system. More than any movie before, Altman could control how his overlapping dialogue was placed in a theatre. But while most theatres that played the movie would only play it in mono sound, the film would still be a minor success, bringing in more than $5m in ticket sales.   1975 would bring what many consider to be the quintessential Robert Altman movie to screens.   The two hour and forty minute Nashville would feature no less than 24 different major characters, as a group of people come to Music City to be involved in a gala concert for a political outsider who is running for President on the Replacement Party ticket. The cast is one of the best ever assembled for a movie ever, including Ned Beatty, Karen Black, Ronee Blakely, Keith Carradine, Geraldine Chaplin, Robert DoQui, Shelley Duvall, Allen Garfield, Henry Gibson, Scott Glenn, Jeff Goldblum, Barbara Harris, Cristina Raines, Lily Tomlin and Keenan Wynn.   Altman would be nominated for two Academy Awards for the film, Best Picture, as its producer, and Best Director, while both Ronee Blakely and Lily Tomlin would be nominated for Best Supporting Actress. Keith Carradine would also be nominated for an Oscar, but not as an actor. He would, at the urging of Altman during the production of the film, write and perform a song called I'm Easy, which would win for Best Original Song. The $2.2m film would earn $10m in ticket sales, and would eventually become part of the fourth class of movies to be selected for preservation by the National Film Registry in 1991, the first of four Robert Altman films to be given that honor. MASH, McCabe and Mrs. Miller, and The Long Goodbye would also be selected for preservation over the years.   And we're going to stop here for a second and take a look at that list of films again.   MASH Brewster McCloud McCabe and Mrs. Miller Images The Long Goodbye Thieves Like Us California Split Nashville   Eight movies, made over a five year period, that between them earned twelve Academy Award nominations, four of which would be deemed so culturally important that they should be preserved for future generations.   And we're still only in the middle of the 1970s.   But the problem with a director like Robert Altman, like many of our greatest directors, their next film after one of their greatest successes feels like a major disappointment. And his 1976 film Buffalo Bill and the Indians, or Sitting Bull's History Lesson, and that is the complete title of the film by the way, did not meet the lofty expectations of film fans not only its director, but of its main stars. Altman would cast two legendary actors he had not yet worked with, Paul Newman and Burt Lancaster, and the combination of those two actors with this director should have been fantastic, but the results were merely okay. In fact,  Altman would, for the first time in his career, re-edit a film after its theatrical release, removing some of the Wild West show acts that he felt were maybe redundant.   His 1977 film 3 Women would bring Altman back to the limelight. The film was based on a dream he had one night while his wife was in the hospital. In the dream, he was directing his regular co-star Shelley Duvall alongside Sissy Spacek, who he had never worked with before, in a story about identity theft that took place in the deserts outside Los Angeles. He woke up in the middle of the dream, jotted down what he could remember, and went back to sleep. In the morning, he didn't have a full movie planned out, but enough of one to get Alan Ladd, Jr., the President of Twentieth-Century Fox, to put up $1.7m for a not fully formed idea. That's how much Robert Altman was trusted at the time. That, and Altman was known for never going over budget. As long as he stayed within his budget, Ladd would let Altman make whatever movie he wanted to make. That, plus Ladd was more concerned about a $10m movie he approved that was going over budget over in England, a science fiction movie directed by the guy who did American Graffiti that had no stars outside of Sir Alec Guinness.   That movie, of course, was Star Wars, which would be released four weeks after 3 Women had its premiere in New York City. While the film didn't make 1/100th the money Star Wars made, it was one of the best reviewed movies of the year. But, strangely, the film would not be seen again outside of sporadic screenings on cable until it was released on DVD by the Criterion Collection 27 years later.   I'm not going to try and explain the movie to you. Just trust me that 3 Women is from a master craftsman at the top of his game.   While on the press tour to publicize 3 Women, a reporter asked Altman what was going to be next for him. He jokingly said he was going to shoot a wedding. But then he went home, thought about it some more, and in a few weeks, had a basic idea sketched out for a movie titled A Wedding that would take place over the course of one day, as the daughter of a Southern nouveau riche family marries the son of a wealthy Chicago businessman who may or may not a major figure in The Outfit.   And while the film is quite entertaining, what's most interesting about watching this 1978 movie in 2023 is not only how many great established actors Altman got for the film, including Carol Burnett, Paul Dooley, Howard Duff, Mia Farrow, Vittorio Gassman, Lauren Hutton, and, in her 100th movie, Lillian Gish, but the number of notable actors he was able to get because he shot the film just outside Chicago. Not only will you see Dennis Christopher just before his breakthrough in Breaking Away, and not only will you see Pam Dawber just before she was cast alongside Robin Williams in Mark and Mindy, but you'll also see Dennis Franz, Laurie Metcalfe, Gary Sinese, Tim Thomerson, and George Wendt.   And because Altman was able to keep the budget at a reasonable level, less than $1.75m, the film would be slightly profitable for Twentieth Century-Fox after grossing $3.6m at the box office.   Altman's next film for Fox, 1979's Quintet, would not be as fortunate.   Altman had come up with the story for this post-apocalyptic drama as a vehicle for Walter Hill to write and direct. But Hill would instead make The Warriors, and Altman decided to make the film himself. While developing the screenplay with his co-writers Frank Barhydt and Patricia Resnick, Altman would create a board game, complete with token pieces and a full set of rules, to flesh out the storyline.   Altman would once again work with Paul Newman, who stars as a seal hunter in the early days of a new ice age who finds himself in elaborate game with a group of gamblers where losing in the game means losing your life in the process. Altman would deliberately hire an international cast to star alongside Newman, not only to help improve the film's ability to do well in foreign territories but to not have the storyline tied to any specific country. So we would have Italian actor Vittorio Gassman, Spaniard Fernando Rey, Swedish actress Bibi Andersson, French actress Brigitte Fossey, and Danish actress Nina van Pallandt.    In order to maintain the mystery of the movie, Altman would ask Fox to withhold all pre-release publicity for the film, in order to avoid any conditioning of the audience. Imagine trying to put together a compelling trailer for a movie featuring one of the most beloved actors of all time, but you're not allowed to show potential audiences what they're getting themselves into? Altman would let the studio use five shots from the film, totaling about seven seconds, for the trailer, which mostly comprised of slo-mo shots of a pair of dice bouncing around, while the names of the stars pop up from moment to moment and a narrator tries to create some sense of mystery on the soundtrack.   But audiences would not be intrigued by the mystery, and critics would tear the $6.4m budget film apart. To be fair, the shoot for the film, in the winter of 1977 outside Montreal was a tough time for all, and Altman would lose final cut on the film for going severely over-budget during production, although there seems to be very little documentation about how much the final film might have differed from what Altman would have been working on had he been able to complete the film his way.   But despite all the problems with Quintet, Fox would still back Altman's next movie, A Perfect Couple, which would be shot after Fox pulled Altman off Quintet. Can you imagine that happening today? A director working with the studio that just pulled them off their project. But that's how little ego Altman had. He just wanted to make movies. Tell stories. This simple romantic comedy starred his regular collaborator Paul Dooley as  Alex, a man who follows a band of traveling bohemian musicians because he's falling for one of the singers in the band.   Altman kept the film on its $1.9m budget, but the response from critics was mostly concern that Altman had lost his touch. Maybe it was because this was his 13th film of the decade, but there was a serious concern about the director's ability to tell a story had evaporated.   That worry would continue with his next film, Health.   A satire of the political scene in the United States at the end of the 1970s, Health would follow a health food organization holding a convention at a luxury hotel in St. Petersburg FL. As one would expect from a Robert Altman movie, there's one hell of a cast. Along with Henry Gibson, and Paul Dooley, who co-write the script with Altman and Frank Barhydt, the cast would include Lauren Bacall, Carol Burnett, James Garner and, in one of her earliest screen appearances, Alfre Woodard, as well as Dick Cavett and Dinah Shore as themselves.   But between the shooting of the film in the late winter and early spring of 1979 and the planned Christmas 1979 release, there was a change of management at Fox. Alan Ladd Jr. was out, and after Altman turned in his final cut, new studio head Norman Levy decided to pull the film off the 1979 release calendar. Altman fought to get the film released sometime during the 1980 Presidential Campaign, and was able to get Levy to give the film a platform release starting in Los Angeles and New York City in March 1980, but that date would get cancelled as well. Levy then suggested an April 1980 test run in St. Louis, which Altman was not happy with. Altman countered with test runs in Boston, Houston, Sacramento and San Francisco. The best Altman, who was in Malta shooting his next movie, could get were sneak previews of the film in those four markets, and the response cards from the audience were so bad, the studio decided to effectively put the film on the proverbial shelf.   Back from the Mediterranean Sea, Altman would get permission to take the film to the Montreal World Film Festival in August, and the Telluride and Venice Film Festivals in September. After good responses from film goers at those festivals, Fox would relent, and give the film a “preview” screening at the United Artists Theatre in Westwood, starting on September 12th, 1980. But the studio would give the film the most boring ad campaign possible, a very crude line drawing of an older woman's pearl bracelet-covered arm thrusted upward while holding a carrot. With no trailers in circulation at any theatre, and no television commercials on air, it would be little surprise the film didn't do a whole lot of business. You really had to know the film had been released. But its $14k opening weekend gross wasn't really all that bad. And it's second week gross of $10,500 with even less ad support was decent if unspectacular. But it would be good enough to get the film a four week playdate at the UA Westwood.   And then, nothing, until early March 1981, when a film society at Northwestern University in Evanston IL was able to screen a 16mm print for one show, while a theatre in Baltimore was able to show the film one time at the end of March. But then, nothing again for more than another year, when the film would finally get a belated official release at the Film Forum in New York City on April 7th, 1982. It would only play for a week, and as a non-profit, the Film Forum does not report film grosses, so we have no idea how well the film actually did. Since then, the movie showed once on CBS in August 1983, and has occasionally played on the Fox Movie Channel, but has never been released on VHS or DVD or Blu-Ray.   I mentioned a few moments ago that while he was dealing with all this drama concerning Health, Altman was in the Mediterranean filming a movie. I'm not going to go too much into that movie here, since I already have an episode for the future planned for it, suffice to say that a Robert Altman-directed live-action musical version of the Popeye the Sailor Man cartoon featuring songs by the incomparable Harry Nilsson should have been a smash hit, but it wasn't. It was profitable, to be certain, but not the hit everyone was expecting. We'll talk about the film in much more detail soon.   After the disappointing results for Popeye, Altman decided to stop working in Hollywood for a while and hit the Broadway stages, to direct a show called Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean. While the show's run was not very long and the reviews not very good, Altman would fund a movie version himself, thanks in part to the sale of his production company, Lion's Gate, not to be confused with the current studio called Lionsgate, and would cast Karen Black, Cher and Sandy Dennis alongside newcomers Sudie Bond and Kathy Bates, as five female members of The Disciples of James Dean come together on the 20th anniversary of the actor's death to honor his life and times. As the first film released by a new independent distributor called Cinecom, I'll spend more time talking about this movie on our show about that distributor, also coming soon, suffice it to say that Altman was back. Critics were behind the film, and arthouse audiences loved it. This would be the first time Altman adapted a stage play to the screen, and it would set the tone for a number of his works throughout the rest of the decade.   Streamers was Altman's 17th film in thirteen years, and another adaptation of a stage play. One of several works by noted Broadway playwright David Rabe's time in the Army during the Vietnam War, the film followed four young soldiers waiting to be shipped to Vietnam who deal with racial tensions and their own intolerances when one soldier reveals he is gay. The film featured Matthew Modine as the Rabe stand-in, and features a rare dramatic role for comedy legend David Alan Grier. Many critics would note how much more intense the film version was compared to the stage version, as Altman's camera was able to effortlessly breeze around the set, and get up close and personal with the performers in ways that simply cannot happen on the stage. But in 1983, audiences were still not quite ready to deal with the trauma of Vietnam on film, and the film would be fairly ignored by audiences, grossing just $378k.   Which, finally, after half an hour, brings us to our featured movie.   O.C. and Stiggs.   Now, you might be asking yourself why I went into such detail about Robert Altman's career, most of it during the 1970s. Well, I wanted to establish what types of material Altman would chose for his projects, and just how different O.C. and Stiggs  was from any other project he had made to date.   O.C. and Stiggs began their lives in the July 1981 issue of National Lampoon, as written by two of the editors of the magazine, Ted Mann and Tod Carroll. The characters were fun-loving and occasionally destructive teenage pranksters, and their first appearance in the magazine would prove to be so popular with readers, the pair would appear a few more times until Matty Simmons, the publisher and owner of National Lampoon, gave over the entire October 1982 issue to Mann and Carroll for a story called “The Utterly Monstrous Mind-Roasting Summer of O.C. and Stiggs.” It's easy to find PDFs of the issues online if you look for it.   So the issue becomes one of the biggest selling issues in the history of National Lampoon, and Matty Simmons has been building the National Lampoon brand name by sponsoring a series of movies, including Animal House, co-written by Lampoon writers Doug Kenney and Chris Miller, and the soon to be released movies Class Reunion, written by Lampoon writer John Hughes… yes, that John Hughes… and Movie Madness, written by five Lampoon writers including Tod Carroll. But for some reason, Simmons was not behind the idea of turning the utterly monstrous mind-roasting adventures of O.C. and Stiggs into a movie. He would, however, allow Mann and Carroll to shop the idea around Hollywood, and wished them the best of luck.   As luck would have it, Mann and Carroll would meet Peter Newman, who had worked as Altman's production executive on Jimmy Dean, and was looking to set up his first film as a producer. And while Newman might not have had the credits, he had the connections. The first person he would take the script to his Oscar-winning director Mike Nichols, whose credits by this time included Who's Afraid of Virginia Wolff?, The Graduate, Catch-22, and Carnal Knowledge. Surprisingly, Nichols was not just interested in making the movie, but really wanted to have Eddie Murphy, who was a breakout star on Saturday Night Live but was still a month away from becoming a movie star when 48 Hours was released, play one of the leading characters. But Murphy couldn't get out of his SNL commitments, and Nichols had too many other projects, both on Broadway and in movies, to be able to commit to the film.    A few weeks later, Newman and Altman both attended a party where they would catch up after several months. Newman started to tell Altman about this new project he was setting up, and to Newman's surprise, Altman, drawn to the characters' anti-establishment outlook, expressed interest in making it. And because Altman's name still commanded respect in Hollywood, several studios would start to show their interest in making the movie with them. MGM, who was enjoying a number of successes in 1982 thanks to movies like Shoot the Moon, Diner, Victor/Victoria, Rocky III, Poltergeist, Pink Floyd - The Wall, and My Favorite Year, made a preemptive bid on the film, hoping to beat Paramount Pictures to the deal. Unknown to Altman, what interested MGM was that Sylvester Stallone of all people went nuts for the script when he read it, and mentioned to his buddies at the studio that he might be interested in making it himself.   Despite hating studio executives for doing stuff like buying a script he's attached to  then kicking him off so some Italian Stallion not known for comedy could make it himself, Altman agree to make the movie with MGM once Stallone lost interest, as the studio promised there would be no further notes about the script, that Altman could have final cut on the film, that he could shoot the film in Phoenix without studio interference, and that he could have a budget of $7m.   Since this was a Robert Altman film, the cast would be big and eclectic, filled with a number of his regular cast members, known actors who he had never worked with before, and newcomers who would go on to have success a few years down the road. Because, seriously, outside of a Robert Altman movie, where are you going to find a cast that included Jon Cryer, Jane Curtin, Paul Dooley, Dennis Hopper, Tina Louise, Martin Mull, Cynthia Nixon, Bob Uecker, Melvin van Peebles, and King Sunny Adé and His African Beats? And then imagine that movie also featuring Matthew Broderick, Jim Carrey, Robert Downey, Jr. and Laura Dern?   The story for the film would both follow the stories that appeared in the pages of National Lampoon fairly closely while also making some major changes. In the film, Oliver Cromwell “O.C.” Oglivie and Mark Stiggs are two ne'er-do-well, middle-class Phoenix, Arizona high school students who are disgusted with what they see as an omnipresent culture of vulgar and vapid suburban consumerism. They spend their days slacking off and committing pranks or outright crimes against their sworn enemies, the Schwab family, especially family head Randall Schwab, a wealthy insurance salesman who was responsible for the involuntary commitment of O.C.'s grandfather into a group home. During the film, O.C. and Stiggs will ruin the wedding of Randall Schwab's daughter Lenore, raft their way down to a Mexican fiesta, ruin a horrible dinner theatre performance directed by their high school's drama teacher being attended by the Schwabs, and turn the Schwab mansion into a homeless shelter while the family is on vacation. The film ends with O.C. and Stiggs getting into a gun fight with Randall Schwab before being rescued by Dennis Hopper and a helicopter, before discovering one of their adventures that summer has made them very wealthy themselves.   The film would begin production in Phoenix on August 22nd, 1983, with two newcomers, Daniel H. Jenkins and Neill Barry, as the titular stars of the film. And almost immediately, Altman's chaotic ways of making a movie would become a problem. Altman would make sure the entire cast and crew were all staying at the same hotel in town, across the street from a greyhound racetrack, so Altman could take off to bet on a few of the races during production downtime, and made sure the bar at the hotel was an open bar for his team while they were shooting. When shooting was done every day, the director and his cast would head to a makeshift screening room at the hotel, where they'd watch the previous day's footage, a process called “dailies” in production parlance. On most films, dailies are only attended by the director and his immediate production crew, but in Phoenix, everyone was encouraged to attend. And according to producer Peter Newman and Dan Jenkins, everyone loved the footage, although both would note that it might have been a combination of the alcohol, the pot, the cocaine and the dehydration caused by shooting all day in the excessive Arizona heat during the middle of summer that helped people enjoy the footage.    But here's the funny thing about dailies.   Unless a film is being shot in sequence, you're only seeing small fragments of scenes, often the same actors doing the same things over and over again, before the camera switches places to catch reactions or have other characters continue the scene. Sometimes, they're long takes of scenes that might be interrupted by an actor flubbing a line or an unexpected camera jitter or some other interruption that requires a restart. But everyone seemed to be having fun, especially when dailies ended and Altman would show one of his other movies like MASH or The Long Goodbye or 3 Women.   After two months of shooting, the film would wrap production, and Altman would get to work on his edit of the film. He would have it done before the end of 1983, and he would turn it in to the studio. Shortly after the new year, there would be a private screening of the film in New York City at the offices of the talent agency William Morris, one of the larger private screening rooms in the city. Altman was there, the New York-based executives at MGM were there, Peter Newman was there, several of the actors were there. And within five minutes of the start of the film, Altman realized what he was watching was not his cut of the film. As he was about to lose his stuff and start yelling at the studio executives, the projector broke. The lights would go up, and Altman would dig into the the executives. “This is your effing cut of the film and not mine!” Altman stormed out of the screening and into the cold New York winter night.   A few weeks later, that same print from New York would be screened for the big executives at the MGM lot in Los Angeles. Newman was there, and, surprisingly, Altman was there too. The film would screen for the entire running length, and Altman would sit there, watching someone else's version of the footage he had shot, scenes put in different places than they were supposed to be, music cues not of his design or consent.   At the end of the screening, the room was silent. Not one person in the room had laughed once during the entire screening. Newman and Altman left after the screening, and hit one of Altman's favorite local watering holes. As they said their goodbyes the next morning, Altman apologized to Newman. “I hope I didn't eff up your movie.”   Maybe the movie wasn't completely effed up, but MGM certainly neither knew what to do with the film or how to sell it, so it would just sit there, just like Health a few years earlier, on that proverbial shelf.   More than a year later, in an issue of Spin Magazine, a review of the latest album by King Sunny Adé would mention the film he performed in, O.C. and Stiggs, would, quote unquote, “finally” be released into theatres later that year.   That didn't happen, in large part because after WarGames in the early summer of 1983, almost every MGM release had been  either an outright bomb or an unexpected financial disappointment. The cash flow problem was so bad that the studio effectively had to sell itself to Atlanta cable mogul Ted Turner in order to save itself. Turner didn't actually want all of MGM. He only wanted the valuable MGM film library, but the owner of MGM at the time was either going to sell it all or nothing at all.   Barely two months after Ted Turner bought MGM, he had sold the famed studio lot in Culver City to Lorimar, a television production company that was looking to become a producer and distributor of motion pictures, and sold rest of the company he never wanted in the first place to the guy he bought it all from, who had a kind of seller's remorse. But that repurchase would saddle the company with massive bills, and movies like O.C. and Stiggs would have to sit and collect dust while everything was sorted out.   How long would O.C. and Stiggs be left in a void?   It would be so long that Robert Altman would have time to make not one, not two, but three other movies that would all be released before O.C. and Stiggs ever saw the light of day.   The first, Secret Honor, released in 1984, featured the great Philip Baker Hall as former President Richard Nixon. It's probably Hall's single best work as an actor, and the film would be amongst the best reviewed films of Altman's career.   In 1985, Altman would film Fool For Love, an adaptation of a play by Sam Shepard. This would be the only time in Shepard's film career where he would star as one of the characters himself had written. The film would also prove once and for all that Kim Basinger was more than just a pretty face but a real actor.   And in February 1987, Altman's film version of Beyond Therapy, a play by absurdist playwright Christopher Durant, would open in theatres. The all-star cast would include Tom Conti, Jeff Goldblum, Christopher Guest, Julie Hagerty and Glenda Jackson.   On March 5th, 1987, an article in Daily Variety would note that the “long shelved” film would have a limited theatrical release in May, despite the fact that Frank Yablans, the vice chairman of MGM, being quoted in the article that the film was unreleasable. It would further be noted that despite the film being available to international distributors for three years, not one company was willing to acquire the film for any market. The plan was to release the movie for one or two weeks in three major US markets, depending on its popularity, and then decide a future course of action from there.   But May would come and go, without a hint of the film.   Finally, on Friday, July 10th, the film would open on 18 screens, but none in any major market like Chicago, Los Angeles or New York City. I can't find a single theatre the film played in that weekend, but that week's box office figures would show an abysmal $6,273 worth of tickets were sold during that first weekend.   There would not be a second weekend of reported grosses.   But to MGM's credit, they didn't totally give up on the film.   On Thursday, August 27th, O.C. and Stiggs would open in at least one theatre. And, lucky for me, that theatre happened to be the Nickelodeon Theatre in Santa Cruz. But despite the fact that the new Robert Altman was opening in town, I could not get a single friend to see it with me. So on a Tuesday night at 8:40pm, I was the only person in all of the region to watch what I would soon discover was the worst Robert Altman movie of all time. Now, I should note that even a bad Robert Altman movie is better than many filmmakers' best movies, but O.C. and Stiggs would have ignobility of feeling very much like a Robert Altman movie, with its wandering camera and overlapping dialogue that weaves in and out of conversations while in progress and not quite over yet, yet not feeling anything like a Robert Altman movie at the same time. It didn't have that magical whimsy-ness that was the hallmark of his movies. The satire didn't have its normal bite. It had a number of Altman's regular troop of actors, but in smaller roles than they'd usually occupy, and not giving the performances one would expect of them in an Altman movie.   I don't know how well the film did at the Nick, suffice it to say the film was gone after a week.   But to MGM's credit, they still didn't give up on the film.   On October 9th, the film would open at the AMC Century City 14, one of a handful of movies that would open the newest multiplex in Los Angeles.   MGM did not report grosses, and the film was gone from the new multiplex after a week.   But to MGM's credit, they still didn't give up on the film.   The studio would give the film one more chance, opening it at the Film Forum in New York City on March 18th, 1988.   MGM did not report grosses, and the film was gone after a week. But whether that was because MGM didn't support the film with any kind of newspaper advertising in the largest market in America, or because the movie had been released on home video back in November, remains to be seen.   O.C. and Stiggs would never become anything resembling a cult film. It's been released on DVD, and if one was programming a Robert Altman retrospect at a local arthouse movie theatre, one could actually book a 35mm print of the film from the repertory cinema company Park Circus.   But don't feel bad for Altman, as he would return to cinemas with a vengeance in the 1990s, first with the 1990 biographical drama Vincent and Theo, featuring Tim Roth as the tortured genius 19th century painter that would put the actor on the map for good. Then, in 1992, he became a sensation again with his Hollywood satire The Player, featuring Tim Robbins as a murderous studio executive trying to keep the police off his trail while he navigates the pitfalls of the industry. Altman would receive his first Oscar nomination for Best Director since 1975 with The Player, his third overall, a feat he would repeat the following year with Short Cuts, based on a series of short stories by Raymond Carver. In fact, Altman would be nominated for an Academy Award seven times during his career, five times as a director and twice as a producer, although he would never win a competitive Oscar.   In March 2006, while editing his 35th film, a screen adaptation of the then-popular NPR series A Prairie Home Companion, the Academy would bestow an Honorary Oscar upon Altman. During his acceptance speech, Altman would wonder if perhaps the Academy acted prematurely in honoring him in this fashion. He revealed he had received a heart transplant in the mid-1990s, and felt that, even though he had turned 81 the month before, he could continue for another forty years.   Robert Altman would pass away from leukemia on November 20th, 2006, only eight months after receiving the biggest prize of his career.   Robert Altman had a style so unique onto himself, there's an adjective that exists to describe it. Altmanesque. Displaying traits typical of a film made by Robert Altman, typically highly naturalistic, but with a stylized perspective and often a subversive twist.   He truly was a one of a kind filmmaker, and there will likely never be anyone like him, no matter how hard Paul Thomas Anderson tries.     Thank you for joining us. We'll talk again in two weeks, when Episode 106, Mad Magazine Presents Up the Academy, is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.  

In the 2nd installment in the emotionally charged "Randy is…" episode series, Randy welcomes superfriend Sue Schaffel to discuss the surprisingly hilarious topic of perplexion! Sue Schaffel is an award-winning actress based in Naples, FL, who has drawn uproarious laughter, tears and everything in between for over thirty years on the stage and screen. Theatre credits include a hilarious portrayal of Desdemona in "When Shakespeare's Ladies Meet," heart-wrenching turns as Polly in "Other Desert Cities" and Charlotte in "Beyond Therapy" as well as scenery-chewing calisthenics as Cajun sensation Velma in "Hush Up Sweet Charlotte" and close-up connoisseur Norma Desmond in "Sunset Boulevard." Her TV credits include numerous local and regional commercials, as well as episodes of "Evil Kin" and "America's Most Wanted." Her film work includes independent features "The Summer Before," "The Waiting Room," and "Ricardo."   She won Best Actress in a Feature (Sunnyside Up Film Festival and Reading Film Festival) for her performance in the independent feature "I Like Me."   "I Like Me" is streaming on multiple platforms nationally. JONES.SHOW is a weekly podcast featuring host Randall Kenneth Jones (author, speaker & creative communications consultant) and Susan C. Bennett (the original voice of Siri). JONES.SHOW is produced and edited by Kevin Randall Jones. SUE SCHAFFEL Online: Web: www.SueSchaffel.com  Web: www.ILikeMeMovie.com  JONES.SHOW Online:    Join us in the Jones.Show Lounge on Facebook. Twitter (Randy): https://twitter.com/randallkjones  Instagram (Randy): https://www.instagram.com/randallkennethjones/ Facebook (Randy): https://www.facebook.com/mindzoo/ Web:  RandallKennethJones.com Follow Randy on Clubhouse Twitter (Susan): https://twitter.com/SiriouslySusan Instagram (Susan): https://www.instagram.com/siriouslysusan/ Facebook (Susan): https://www.facebook.com/siriouslysusan/ Web: SusanCBennett.com Follow Susan on Clubhouse LinkedIn (Kevin): https://www.linkedin.com/in/kevin-randall-jones/  Web: KevinRandallJones.com  www.Jones.Show

It's Week 4 of the Tesla fundraising drive and Tim and Ted are on track to reach their goal, due to some recent successes in their artistic and professional lives. Plus, predictions for Tesla in 2023, the true meaning of Avatar 2, and how to win at therapy. Support Tep Talk on Patreon: www.Patreon.com/TechTalkPod

More children are taken to the ER from accidental ingestion of medication than car accidents. Guest Host, Clare Kramer, is joined by Carlos Briano, Elizabeth Farrar, and WWE Star “JTG” to talk about keeping your home RX safe for kids. Locking up medications and keeping them out of sight is essential. You have to have conversations with your kids about safe medication use and who to trust giving you medicines, and you need to have this conversation often. Remind them to be safe. Tune in for additional steps parents/caregivers can take and information on the DEA Drug Takeback program.   IN THIS EPISODE: [00:56] Why accidental ingestion is common [03:59] How to have a conversation with kids about medications [07:18] Why fentanyl is being put in drugs and the rise in the drug occurrences [10:52] Alternatives to storing medications safely [12:32] Information on drug takeback program [17:24] Additional steps parents or caregivers can take   KEY TAKEAWAYS: If you are taking prescription medications, be sure to securely lock them up and keep them out of sight. You need to have conversations with your kids about medications. Have them more than once and make sure they understand. Only take drugs from a trusted adult. If you have unused, expired, or unneeded medications, turn them in at a take-back day hosted by the DEA ***DISCLAIMER***The views, information, or opinions expressed during the Awkward Conversation series are solely those of the individuals, speakers, commentators, experts, and or hosts involved and do not necessarily reflect nor represent those of the production, associates or broadcaster, or any of its employees. Production is not responsible and does not verify for accuracy any of the information contained in the series available for viewing. The primary purpose of this series is to educate and inform. This series does not constitute medical or other professional advice or services. This series is available for private, non-commercial use only. The production, broadcaster, or its channel cannot be held accountable for all or any views expressed during this program. Resources: https://elkskidszone.org/what-heroes-do/  https://www.dea.gov/takebackday#collection-locator  Poison Control (800) 222-1222   DEA Takeback Website Growing Up Drug-Free: A Parent's Guide to Substance Use Prevention One Pill Could Kill Never Thought I'd Say This Podcast with Jodie Sweetin Team Upstandards with Trevor Donovan Get Smart About Drugs Website Elks Kid Zone Website Elks Drug Awareness Program Website Elks DAP on Twitter Elks DAP on Facebook Elks DAP on YouTube DEA Website DEA on Instagram DEA on Twitter DEA on Facebook DEA YouTube Channel Trevor Donovan Instagram Team Upstanders Instagram Trevor Donovan Twitter   Watch Awkward Conversations Season 1 the series: Awkward Breakfast Conversations - Ep. 1 Awkward Lunch Conversations - Ep. 2 Awkward Dinner Conversations - Ep. 3  Bios: Clare Kramer A graduate of NYU's prestigious Tisch School of the Arts, Clare earned her BFA in just three years. While in New York, Clare appeared in numerous stage plays including one turn as Helen Keller in the stage version of "The Miracle Worker", the lead role in "Light Up the Sky" at the acclaimed Lee Strasberg Theater Institute, "Beyond Therapy" at the John Houseman Theater, and "Beginnings" at Circle in the Square. She began appearing in small and bit parts in films like In & Out and Vig. Clare first rose to attention as the hard-nosed cheerleader "Courtney" in the blockbuster hit Bring It On appearing alongside Kirsten Dunst and Eliza Dushku. Immediately following, Clare was cast in a recurring role as "Glory", the vain hell-goddess on the television hit Buffy the Vampire Slayer which gained Clare additional acclaim as one of Buffy's most popular adversaries.Clare has worked in both major studio and independent films, the most notable being Roger Avary's feature adaptation of Bret Easton Ellis' The Rules of Attraction, as well as "Lucy In the Sky" in the film D.E.B.S.. She was also cast in lead roles in The Skulls III.   She also appeared on television in a few guest appearances on Sabrina the Teenage Witch, The Random Years, and Tru Calling. She continues to work for both stage and movie roles, most recently with the horror flick The Gravedancers. Amy McCarthy, LICSW, is the Director of Social Work for the Adolescent Substance Use and Addiction Program (ASAP) at Boston Children's Hospital where she provides direct clinical and programmatic support. Additionally, Amy has extensive experience working in community-based settings providing care to young people living with complex mental health needs, and their families. As the former director of the Boston-Suffolk County Family Resource Center, she worked with an abundance of community partners to ensure residents had access to vital resources to meet basic needs and beyond. Amy received her Bachelor's Degree in Social Work (BSW) from Siena College and earned a Master's Degree in Social Work (MSW) from Wheelock College.   Carlos Briano is the Public Information Officer, Demand Reduction Coordinator, and Community Outreach Coordinator for the Drug Enforcement Administration's El Paso Division, which covers West Texas and New Mexico. Prior to joining DEA, he was PIO for El Paso Water, Adams County Fire Rescue in Denver, and the El Paso Fire Department. In 2013, he was named a finalist for Texas Teacher of the Year. When he worked as a journalist for the El Paso Times, he was a member of the Texas Media Honor Roll.   Elizabeth Trimmer Farrar, BA, ACPS Elizabeth Timmer Farrar is the Coordinator of Prevention Services for the Rhode Island Department of Behavioral Healthcare, Developmental Disabilities and Hospitals (BHDDH). She has worked for the Department for nearly twenty years. In this capacity she is responsible for the oversight and management of the prevention activities for BHDDH, including the prevention portion of the Substance Abuse Prevention and Treatment Block Grant (SAPT BG) and provides oversight on the distribution of other funding allocations which also address prevention of substance misuse. She supervises the prevention provider network which includes seven regional prevention coalitions, a student assistance program, training and technical assistance center, evaluation and administration of a risk and prevalence survey for middle and high school Students. Elizabeth has thirty- years of experience in behavioral health. She was the original Director of Rhode Island Communities for Addiction Recovery Efforts (RICAREs), a grass-roots recovery effort focused on creating a socially just community for all Rhode Islanders impacted by alcohol and substance use disorders. Prior to that she worked many years as a clinician primarily working with adolescents and families. Elizabeth has served as the Rhode Island representative for the National Association of State Alcohol and Other Drug Abuse Directors (NASADAD), National Prevention Network (NPN) for twelve years and is a member of various state committees. Ms. Farrar holds a Bachelor of Arts Degree as well as an Advanced Degree.   JTG. As a child growing up in Brooklyn, Jayson was a dreamer. His dreams weren't unlike many of the other young boys his age, in his neighborhood- To one day wrestle professionally with the then World Wrestling Federation, to see himself on television, and to hear his name chanted by adoring fans at his beloved Madison Square Garden. At 14 years old, Jayson and a group of his friends went to the garden to see a WWE live event. After the show was over The Rock came out onto the wrestling ring and proceeded to talk to the audience. Although the show had already ended, the crowd was so captivated by him and what he was saying that no one moved! Although he fell in love with wrestling long before that day, Jayson left the garden that night with a newfound objective-he wanted that level of connection with people, with the fans; the love and respect that he saw mutually between the Rock and the fans that night". While such an experience would be enough to ignite a small desire to one day be like "The Rock", for most that is just what it would remain. A desire, a dream unfulfilled. The odds seem virtually impossible for most that they would ever make it into the WWE, nevertheless, reach the legendary heights of Dwayne The Rock Johnson. And for an African -American teenager being raised by a single mother in Flatbush, Brooklyn, the odds can seem even more insurmountable. First of all, how does one even begin to find their way onto the WWE roster? The road is not as clearly mapped out as it is for those that hope to make it to the NBA or NFL. While most of his counterparts were worrying about the SATs and college applications, Jayson began planning. Having performed in various plays and productions at John Dewey Performing Arts High School, Jayson's goal became even more apparent to him. While he valued education and thought about going to college since he was a child he knew that he wanted to be an entertainer. His experiences on stage, in acting class, and watching the WWE on television confirmed in him what he wanted to do with his life. Jayson couldn't see how the college could help him achieve his particular goals." So at 17, after graduation, Jayson set out on his path of making his dreams his reality. With laser-like focus and unyielding determination, Jayson left New York to pursue his dream at various wrestling schools across the country. It was in Louisville, Kentucky that his dreams began to take shape. At Ohio Valley Wrestling School, after four and a half years of struggle and hardship, Jayson signed his wrestling contract as a part of the tag team Cryme Tyme. At the tender age of 21 Jayson A. Paul became JTG, the youngest African- American to ever be signed to the WWE. Jayson has realized so many of his dreams time and time again. He wrestled for the WWE, he has definitely seen himself on television and he has heard his name chanted from Madison Square Garden to Paris, France. For many people that would be enough, but not for Jayson. Like Dwayne The Rock Johnson, Hulk Hogan, and many other wrestling legends, Jayson has now set his sights on making his mark on Hollywood. While he is not abandoning wrestling, as he still has more to accomplish as a wrestler, Jayson is also passionate about acting. With Jayson's work with the WWE as a sports entertainer, the transition for him is natural.   About Elks As a 150-year-old organization, they are 100% inclusive with a membership of close to 1 million diverse men and women in over 2,000 Lodges nationally, and while they consider themselves faith-based, they are nondenominational and open to all creeds. The Elks have always prided themselves on civic duty, and the Elks Drug and Alcohol Prevention (DAP) program is the nation's largest all-volunteer Kids Drug & Alcohol Use Prevention program. The Elks are also strong supporters of our brave men and women in the military, having built and donated the nation's first VA Hospital to the U.S. government. The Elks have donated more than $3.6 billion in cash, goods, and services to enrich the lives of millions of people!    About DEA The United States Drug Enforcement Administration was created in 1973 by President Nixon after the government noticed an alarming rise in recreational drug use and drug-related crime. A division of the Department of Justice, DEA is tasked with enforcing the controlled substances laws by apprehending offenders to be prosecuted for criminal and civil crimes. DEA is the largest and most effective anti-drug organization in the world, with 239 domestic locations and 91 foreign offices in 68 countries.

Therapy has helped a lot of people in the world. But it can't help everyone. And in fact, it may not be the best approach to solve mental health problems.  For example, today's guest, Ace Jaysayer, is a therapist himself. But after an earth-shattering divorce, he slowly realized the modern form of therapy isn't too effective.  He first used his skills on himself for a year. When that didn't work, he found the best therapist in the world for him. But that didn't work either.  As he was on the brink of suicice, he discovered the Freedom Specialist and came to a retreat. Within two days, 98% of his trauma vanished.  In this episode, Ace shares his story, why modern therapy isn't as effective as it could be, and how you can overcome your suffering (even when therapy didn't work for you).  Listen now.  Show Highlights Include Why mental health in America is declining despite the stigma around therapy vanishing (7:35)  The weird way even the best, good-hearted therapists can't help all their clients overcome their problems (9:20)  How an earth-shattering divorce led this top therapist on the brink of depression to a Freedom Specialist retreat where he conquered his suffering in 2 days (and how you can conquer suffering too) (16:02)  Why therapy couldn't help a professional therapist who knows how to find the best therapist for himself (19:03)  The “thoughts as a byproduct” strategy shift which how the Freedom Specialist retreats can help you conquer your trauma when therapy can't (22:29)  Why working with the body is a more effective way to handle mental health issues than working with the thoughts (23:14)  How to get rid of your trauma in as little as two days (even if you've spent years in therapy) (24:10)  If you want to radically change how much control you have over your emotions in as little as 20 days, you can go to https://thefreedomspecialist.com/feelbetternow and sign up for the Choose Your Own Emotion course.  If you or somebody you know is looking to drop the ‘F' Bomb of freedom in your life and break free from addiction, depression, anxiety or anything that's making you feel flat-out stuck, head over to https://thefreedomspecialist.com/ and book a call where we can look at your unique situation and give you the roadmap you've been missing. If you'd like to buy a copy of my book, Is That Even Possible?: The Nuts and Bolts of Energy Healing for the Curious, Wary, and Totally Bewildered, you can find it on Amazon here: https://www.amazon.com/That-Even-Possible-Healing-Bewildered/dp/1512336041

Bullying can affect everyone—those who are bullied, those who bully, and even those who witness bullying. Bullying is linked to many negative outcomes including impacts on mental health, substance use, and suicide.      Only 20% of bullying is reported so it is important for youth to have an action plan and programs that address/prevent bullying. Amy McCarthy joins special guest host Clare Kramer as she speaks with Erin Wick who is a Senior Director of Behavioral Health and Student support at a health treatment center and schools. They discuss signs of bullying, what to do if your child is bullying, and cyber-bullying.  Then, Jodie Sweetin talks with Trevor Donovan who started a nationwide anti-bullying program called Team Upstanders. He explains how the program uses positive peer pressure and mediation, the effects of online bullying, and Trevor shares an inspiring story of success. Tune in to learn tips on creating an action plan for bullying together as a family.   IN THIS EPISODE: [01:30] Signs that a child is being bullied  [05:41] Creating an action plan for bullying [07:45] What to do if your child is the one bullying [11:59] A dive into cyber-bullying [15:02] Team Upstanders program information [20:36] Trevor shares an inspiring story   KEY TAKEAWAYS: It is important to create an action plan for bullying with your child. If bullying occurs, they will already know who to tell and how to get help. Be a good example in how you are speaking to and about others. You model behaviors and expectations for your child. With programs like Team Upstanders, teens use positive peer pressure and teen mediation to help stop bullying. The goal is for it to become more popular to be nice. ***DISCLAIMER***The views, information, or opinions expressed during the Awkward Conversation series are solely those of the individuals, speakers, commentators, experts, and or hosts involved and do not necessarily reflect nor represent those of the production, associates or broadcaster, or any of its employees. Production is not responsible and does not verify for accuracy any of the information contained in the series available for viewing. The primary purpose of this series is to educate and inform. This series does not constitute medical or other professional advice or services. This series is available for private, non-commercial use only. The production, broadcaster, or its channel cannot be held accountable for all or any views expressed during this program.   Resources: Growing Up Drug-Free: A Parent's Guide to Substance Use Prevention One Pill Could Kill Never Thought I'd Say This Podcast with Jodie Sweetin Team Upstandards  with Trevor Donovan Get Smart About Drugs Website Trevor Donovan Instagram Team Upstanders Instagram Trevor Donovan Twitter Trevor Donovan TikTok Elks Kid Zone Website Elks Drug Awareness Program Website Elks DAP on Twitter Elks DAP on Facebook Elks DAP on YouTube DEA Website DEA on Instagram DEA on Twitter DEA on Facebook DEA YouTube Channel   Watch Awkward Conversations Season 1 the series: Awkward Breakfast Conversations - Ep. 1 Awkward Lunch Conversations - Ep. 2 Awkward Dinner Conversations - Ep. 3    Bios: Jodie Sweetin Jodie Sweetin is an American actress and television personality known for her role as Stephanie Tanner in the ABC comedy series Full House and its Netflix sequel series Fuller House. Jodie is joined by Content Expert Amy McCarthy, a Senior Clinical Social Worker at Boston Children's Hospital. Clare Kramer Clare Kramer A graduate of NYU's prestigious Tisch School of the Arts, Clare earned her BFA in just three years. While in New York, Clare appeared in numerous stage plays including one turn as Helen Keller in the stage version of "The Miracle Worker", the lead role in "Light Up the Sky" at the acclaimed Lee Strasberg Theater Institute, "Beyond Therapy" at the John Houseman Theater, and "Beginnings" at Circle in the Square. She began appearing in small and bit parts in films like In & Out and Vig. Clare first rose to attention as the hard-nosed cheerleader "Courtney" in the blockbuster hit Bring It On appearing alongside Kirsten Dunst and Eliza Dushku. Immediately following, Clare was cast in a recurring role as "Glory", the vain hell-goddess on the television hit Buffy the Vampire Slayer which gained Clare additional acclaim as one of Buffy's most popular adversaries. Clare has worked in both major studio and independent films, the most notable being Roger Avary's feature adaptation of Bret Easton Ellis' The Rules of Attraction, as well as "Lucy In the Sky" in the film D.E.B.S. She was also cast in lead roles in The Skulls III.   She also appeared on television in a few guest appearances on Sabrina the Teenage Witch, The Random Years, and Tru Calling. She continues to work for both stage and movie roles, most recently with the horror flick The Gravedancers. Clare is also active in various charities dating back to 1992 when she helped the Ohio Recreation Unlimited and in 1993 when she served as a summer camp counselor at a YMCA camp for children with physical disabilities. During the summer months from 1992 to 1997, she taught young adults with developmental disabilities at the Young Adult Institute in New York. She worked during the summer of 2000 at LA's Camp Laurel and participated in a 2002 bicycle race to raise money for Children International. Also in 2002, Clare rode her bicycle in the annual AIDS Ride, where participants ride over a seven-day period that takes them from San Francisco to Los Angeles. In 2006, while on a trip to Australia and New Zealand with her husband, film producer Brian R. Keathley, Clare delivered school supplies to the small village of Tufi, Papua New Guinea.   Amy McCarthy Amy McCarthy, LICSW, is the Director of Social Work for the Adolescent Substance Use and Addiction Program (ASAP) at Boston Children's Hospital where she provides direct clinical and programmatic support.  Additionally, Amy has extensive experience working in community-based settings providing care to young people living with complex mental health needs, and their families. As the former director of the Boston-Suffolk County Family Resource Center, she worked with an abundance of community partners to ensure residents had access to vital resources to meet basic needs and beyond. Amy received her Bachelor's Degree in Social Work (BSW) from Siena College and earned a Master's Degree in Social Work (MSW) from Wheelock College.    Trevor Donovan Trevor Donovan was born in Mammoth Lakes, California. Trevor grew up skiing & snowboarding, and during his teens, was on the US teen ski team. Trevor is a true renaissance man, aside from being proficient at most sports, he can play guitar and sing, earned a bachelor's degree in graphic design, and is an active ambassador for Habitat for Humanity & the Robert F. Kennedy Center for Justice & Human Rights, a canine advocate, and started a nationwide anti-bullying program called Team Upstanders. #TeamUpstanders Trevor is most known for his work as a fan favorite, Teddy Montgomery on the global pop culture phenom 90210, as the show's 1st and only lgbtq+ character that was a series regular. Trevor also starred in the History Channel epic mini-series Texas Rising opposite Bill Paxton, Ray Liotta, and Jeffrey Dean Morgan. Donovan's upcoming projects include the movie Reagan with Dennis Quaid, as well as Wolfhound, Aloha with Love, The Engagement Plot, and Hot Water. His TV credits include recurring roles on Sun Records, The Client List, Melissa & Joey, Awkward, NCIS, and Lucifer. As a leading man in Rom-Coms, Trevor has starred in the following titles: Strawberry Summer, Love on a Limb, Marry Me at Christmas, Snowcoming, Nostalgic Christmas, Love, Fall & Order, USS Christmas, Two For The Win, Nantucket Noel, Jingle Bell Princess, Aloha with Love, The Engagement Plot, Love Finds You in Charm, Runaway Romance, Prescription for Love, and Love, Lost & Found. Donovan is active daily on social media, with a worldwide reach of over 10 million people a month across 3 platforms. Donovan refers to his social media platforms as "An escape from negativity and a positive place for pet lovers." Donovan is also an author, he wrote 3 children's books: "Love Always, Dogbert & Tito" and "Love Always, Dogbert's Journey" which features Dogbert the German Shepherd, Tito the English Bulldog, and Shadow the Golden Retriever on their magical adventures. The third book is called "Love Always, Chance the Courageous" and introduces Chance to the CK9 Crew. Donovan's "Love Always" series is inspired by real-life everyday experiences that have been shared with millions of devoted fans around the world via his social media channels. They are stories about love, inspiration, and hope for adults and children of all ages that end on a happy note.   Erin Wick Erin L. Wick is the Senior Director of Behavioral Health and Integrated Student Supports at Capital Region ESD 113 in Tumwater, Washington supporting 44 school districts and one tribal compact school who serve about 73,000 students and their families.  Erin also serves in the role of State Lead for COVID response for Behavioral Health for the Association of Educational Service Districts in Washington State. Erin has dedicated her career to increasing systems of care for the health and wellness of the region. She and her team partner with school leaders, governmental and public agencies, and communities across the region and Washington state. In 2022, Erin's team was recognized by the White House Office of National Drug Control Policy's National Drug Control Strategy for their innovation and positive student outcomes using the Student Assistance Program model.   About Elks As a 150-year-old organization, they are 100% inclusive with a membership of close to 1 million diverse men and women in over 2,000 Lodges nationally, and while they consider themselves faith-based, they are nondenominational and open to all creeds. The Elks have always prided themselves on civic duty, and the Elks Drug and Alcohol Prevention (DAP) program is the nation's largest all-volunteer Kids Drug & Alcohol Use Prevention program. The Elks are also strong supporters of our brave men and women in the military, having built and donated the nation's first VA Hospital to the U.S. government. The Elks have donated more than $3.6 billion in cash, goods, and services to enrich the lives of millions of people!    About DEA The United States Drug Enforcement Administration was created in 1973 by President Nixon after the government noticed an alarming rise in recreational drug use and drug-related crime. A division of the Department of Justice, DEA is tasked with enforcing the controlled substances laws by apprehending offenders to be prosecuted for criminal and civil crimes. DEA is the largest and most effective anti-drug organization in the world, with 239 domestic locations and 91 foreign offices in 68 countries.

In this overwhelming opioid epidemic, it's more important than ever to educate our youth and try to prevent them from having to face this problem. For today's awkward conversation, Clare Kramer is joined by Catie Drew who is the Senior Prevention Program Manager in the DEAs Community Outreach and Prevention Support Section, Bill Bryan who is the Assistant National Director of the Elks Drug Awareness Program, and Drew Hammill who is a Senior Instructional Design Manager for Discovery Education.   They share incredible resources that are relevant to not only parents and their kids (youth and teens,) but also to other organizations such as schools, scouts, and faith-based organizations. One person can make a difference so listen in today to learn how to spread awareness and educate others.   IN THIS EPISODE: [01:13] Operation Prevention information [03:06] Where the information comes from [08:27] How to get other organizations involved [13:06] The Elk's history and what they do for the community [18:24] Katie explains the parent's toolkit [19:30] Drew emphasizes the opioid epidemic and our role in stopping it   KEY TAKEAWAYS: There are resources out there for parents, teens, and teachers. Parents should use resources with their kids/ teens to talk about it together. The community is important to help raise awareness as well. It starts with parents but then extends to schools, scout organizations, faith-based organizations, and others. One person can make a difference.   Resources:   Get Smart About Drugs Website Operation Prevention Website Growing Up Drug-Free: A Parent's Guide to Substance Use Prevention   Elks Kidzone Website One Pill Could Kill Never Thought I'd Say This Podcast with Jodie  Awkward Breakfast Conversations - Ep. 1 Awkward Lunch Conversations - Ep. 2 Awkward Dinner Conversations - Ep. 3 Elks Drug Awareness Program Website Elks DAP on Twitter Elks DAP on Facebook Elks DAP on YouTube DEA Website DEA on Instagram DEA on Twitter DEA on Facebook DEA YouTube Channel ***DISCLAIMER***The views, information, or opinions expressed during the Awkward Conversation series are solely those of the individuals, speakers, commentators, experts and or hosts involved and do not necessarily reflect nor represent those of the production, associates or broadcaster, or any of its employees. Production is not responsible and does not verify for accuracy any of the information contained in the series available for viewing. The primary purpose of this series is to educate and inform. This series does not constitute medical or other professional advice or services. This series is available for private, non-commercial use only. The production, broadcaster, or its channel cannot be held accountable for all or any views expressed during this program.  BIOs:   Clare Kramer A graduate of NYU's prestigious Tisch School of the Arts, Clare earned her BFA in just three years. While in New York, Clare appeared in numerous stage plays including one turn as Helen Keller in the stage version of "The Miracle Worker", the lead role in "Light Up the Sky" at the acclaimed Lee Strasberg Theater Institute, "Beyond Therapy" at the John Houseman Theater, and "Beginnings" at Circle in the Square. She began appearing in small and bit parts in films like In & Out and Vig. Clare first rose to attention as the hard-nosed cheerleader "Courtney" in the blockbuster hit Bring It On appearing alongside Kirsten Dunst and Eliza Dushku. Immediately following, Clare was cast in a recurring role as "Glory", the vain hell-goddess on the television hit Buffy the Vampire Slayer which gained Clare additional acclaim as one of Buffy's most popular adversaries. Clare has worked in both major studio and independent films, the most notable being Roger Avary's feature adaptation of Bret Easton Ellis' The Rules of Attraction, as well as "Lucy In the Sky" in the film D.E.B.S. She was also cast in lead roles in The Skulls III.   She also appeared on television in a few guest appearances on Sabrina the Teenage Witch, The Random Years, and Tru Calling. She continues to work for both stage and movie roles, most recently with the horror flick The Gravedancers.   Clare is also active in various charities dating back to 1992 when she helped the Ohio Recreation Unlimited and in 1993 when she served as a summer camp counselor at a YMCA camp for children with physical disabilities. During the summer months from 1992 to 1997, she taught young adults with developmental disabilities at the Young Adult Institute in New York. She worked during the summer of 2000 at LA's Camp Laurel and participated in a 2002 bicycle race to raise money for Children International. Also in 2002, Clare rode her bicycle in the annual AIDS Ride, where participants ride over a seven-day period that takes them from San Francisco to Los Angeles. In 2006, while on a trip to Australia and New Zealand with her husband, film producer Brian R. Keathley, Clare delivered school supplies to the small village of Tufi, Papua New Guinea.   Catie Drew- Cathleen (Catie) Drew joined the Drug Enforcement Administration in 2006 as the Education Coordinator for the DEA Museum. She is currently a Senior Prevention Program Manager in DEA's Community Outreach and Prevention Support Section. In this capacity, she helps educate the public and communicate the Administration's drug prevention messages. She is responsible for the oversight of the Operation Prevention drug prevention curriculum (in collaboration with Discovery Education) and the numerous drug prevention publications provided by DEA's Community Outreach and Prevention Support Section. Catie previously worked as an Interpretive Science Park Ranger for the National Park Service, an Environmental Education Specialist for the Smithsonian Institution, and a Marine Biologist for the National Oceanic and Atmospheric Administration. Catie has an undergraduate degree in Environmental Biology from the University of Colorado, and a Master's Degree in Museum Education from George Washington University. She lives with her family in Northern Virginia.   Bill Bryan- William “Bill” Bryan is a 50+ year member of the Benevolent and Protective Order of Elks, who has been involved in the Elks' Drug Awareness Program since its inception in the late 1980s.  Currently, he serves as the Assistant National Director of the DAP and along with the other Directors is responsible for training State Chairs and providing them with support in their efforts. Prior to his retirement in 2006, Bill spent his professional career working with families and children in a variety of capacities as a police officer; social worker, and Correctional Superintendent.  His focus has always been on creating a safer community for everyone, with a strong belief that one person can make a difference.   Drew Hammill- Drew is a Senior Instructional Design Manager for Discovery Education. He holds an M.A in Social Studies Education and a Masters in School Administration from the University of North Carolina at Charlotte. He began his career as an AmeriCorps volunteer working with students with behavioral and emotional disorders. Drew has served as a high school social studies teacher, school administrator, and curriculum coordinator for K-12 Social Studies in Charlotte Mecklenburg Schools. While serving in these roles, he led professional development in areas of inquiry-based learning, literacy integration, and social-emotional learning. About Elks As a 150-year-old organization, they are 100% inclusive with a membership of close to 1 million diverse men and women in over 2,000 Lodges nationally, and while they consider themselves faith-based, they are nondenominational and open to all creeds. The Elks have always prided themselves on civic duty, and the Elks Drug and Alcohol Prevention (DAP) program is the nation's largest all-volunteer Kids Drug & Alcohol Use Prevention program. The Elks are also strong supporters of our brave men and women in the military, having built and donated the nation's first VA Hospital to the U.S. government. The Elks have donated more than $3.6 billion in cash, goods, and services to enrich the lives of millions of people!    About DEA The United States Drug Enforcement Administration was created in 1973 by President Nixon after the government noticed an alarming rise in recreational drug use and drug-related crime. A division of the Department of Justice, DEA is tasked with enforcing the controlled substances laws by apprehending offenders to be prosecuted for criminal and civil crimes. DEA is the largest and most effective anti-drug organization in the world, with 239 domestic locations and 91 foreign offices in 68 countries.

Altman's continued trend of adapting stage plays into feature films proceeded into the end of the '80s with mixed successes. On one hand there were films like Secret Honor (1984), a scaled-back character study of a fictional Richard Nixon contemplating on the missteps and bitter grudges of his tumultuous political career, carried by an astounding one-man performance from Phillip Baker Hall. On the other you have something like Fool for Love (1985), an oddball testimony of toxic relationships that occasionally dips into the surreal and esoteric, with no clear reasoning or well-defined characters to ground its unaccountable departures. He did make at least one studio film between now and his eventual Hollywood comeback, a supposed satire on the burgeoning teen comedy genre called O.C. and Stiggs (1985), based on a beloved National Lampoon article from the time. Altman himself considered it a total failure, and the questionable politics and sensibilities of the story somewhat call into question the sensitive and socially intuitive Altman we thought we knew from a few films back.And if that doesn't assure you completely of his lack of consideration for marginalized characters, then the unmitigated offenses of Beyond Therapy (1987) will surely remind you that the '80s were a time bereft of needed allies. Fear not, though, as promises of the breakthrough to come manifest in a television mini series he did with Tim Roth and Paul Rhys on the life of Vincent van Gogh that was later truncated and released theatrically, appropriately called Vincent and Theo (1990). There's something about the tragic arc of the famous Dutch artist's failed career that fascinates us cinematically. He's been the subject of so many films, even to this day. It seems only natural that as individual an artist as Altman would take a stab at capturing his life and emotions on celluloid, with greater insight and sensitivity towards his plight than most other hagiographic renderings have lent him.A production of The Twin Geeks | Join our Discord

Today's conversation is extremely important for parents to hear as we talk about how young people are being targeted by drug cartels with deadly fake prescription pills. Clare Kramer is joined by Wendy Woolcock, the special agent in charge of the special operations division at the DEA and returning guest, Amy McCarthy, Clinical Social Worker at Boston Children's Hospital. Wendy explains the messaging and rising death toll behind the One Pill Can Kill initiative and how Mexican drug cartels are literally making a killing off fentanyl-laced pills. Wendy, Amy and Claire share how parents can protect their children and the importance of educating them about the fact that one pill can kill!  IN THIS EPISODE: [00:45] The initiative behind One Pill Can Kill and the growing fentanyl epidemic [02:46] What is a lethal amount of fentanyl and why is fentanyl the new drug of choice [07:51] The process that these fake pills are being manufactured [12:33] What do these pills look like [14:33] What can parents do to protect their children and how to have this  awkward conversations with your kid KEY TAKEAWAYS: We have seen two milligrams of fentanyl alone in one of these fake pills is a deadly dose of fentanyl and can kill an individual. That amount is equivalent to several pieces of salt or sugar on the end of a pencil tip. That means a very, very small amount can be lethal, hence, the statement one pill can kill. The DEA has found that along with the CDC that four out of 10 pills can contain a lethal dose of fentanyl. Last year, the CDC stated around 108,000 people died as a result of an unintentional overdose death. This is not simply a law enforcement problem, and it is definitely not a law enforcement solution. It is a unified effort that needs to be taken on by parents, schools, and leaders in our communities. And we have to educate children about this serious threat. Resources:   Growing Up Drug Free: A Parent's Guide to Substance Use Prevention   One Pill Could Kill https://www.dea.gov/onepill Never Thought I'd Say This Podcast with Jodie Sweeti   The views, information, or opinions expressed during the Awkward Conversation series are solely those of the individuals, speakers, commentators, experts and or hosts involved and do not necessarily reflect nor represent those of the production, associates or broadcaster or any of its employees. Production is not responsible and does not verify for accuracy any of the information contained in the series available for viewing. The primary purpose of this series is to educate and inform. This series does not constitute medical or other professional advice or services. This series is available for private, non-commercial use only. The production, broadcaster or its channel cannot be held accountable for all or any views expressed during this program.    BIO: Clare Kramer A graduate of NYU's prestigious Tisch School of the Arts, Clare earned her BFA in just three years. While in New York, Clare appeared in numerous stage plays including one turn as Helen Keller in the stage version of "The Miracle Worker", the lead role in "Light Up the Sky" at the acclaimed Lee Strasberg Theater Institute, "Beyond Therapy" at the John Houseman Theater, and "Beginnings" at Circle in the Square. She began appearing in small and bit parts in films like In & Out and Vig. Clare first rose to attention as the hard-nosed cheerleader "Courtney" in the blockbuster hit Bring It On appearing alongside Kirsten Dunst and Eliza Dushku. Immediately following, Clare was cast in a recurring role as "Glory", the vain hell-goddess on the television hit Buffy the Vampire Slayer which gained Clare additional acclaim as one of Buffy's most popular adversaries.Clare has worked in both major studio and independent films, the most notable being Roger Avary's feature adaptation of Bret Easton Ellis' The Rules of Attraction, as well as "Lucy In the Sky" in the film D.E.B.S.. She was also cast in lead roles in The Skulls III.   She also appeared on television in a few guest appearances on Sabrina the Teenage Witch, The Random Years, and Tru Calling. She continues to work for both stage and movie roles, most recently with the horror flick The Gravedancers.   Clare is also active in various charities dating back to 1992 when she helped the Ohio's Recreation Unlimited and in 1993 when she served as a summer camp counselor at a YMCA camp for children with physical disabilities. During summer months from 1992 to 1997, she taught young adults with development disabilities at the Young Adult Institute in New York. She worked during the summer of 2000 at LA's Camp Laurel and participated in a 2002 bicycle race to raise money for Children International. Also in 2002, Clare rode her bicycle in the annual AIDS Ride, whereas participants ride over a seven day period that takes them from San Francisco to Los Angeles. In 2006, while on a trip to Australia and New Zealand with her husband, film producer Brian R. Keathley, Clare delivered school supplies to the small village of Tufi, Papua New Guinea. Amy McCarthy, Amy McCarthy, LICSW, is the Director of Social Work for the Adolescent Substance Use and Addiction Program (ASAP) at Boston Children's Hospital where she provides direct clinical and programmatic support.  Additionally, Amy has extensive experience working in community based settings providing care to young people living with complex mental health needs, and their families. As the former director of the Boston-Suffolk County Family Resource Center, she worked with an abundance of community partners to ensure residents had access to vital resources to meet basic needs and beyond. Amy received her Bachelor's Degree in Social Work (BSW) from Siena College, and earned a Master's Degree in Social Work (MSW) from Wheelock College.      Ms. Wendy Woolcock is the Special Agent in Charge (SAC) of the Drug Enforcement Administration's (DEA) Special Operations Division (SOD), a premier multi-agency operational coordination and deconfliction center supporting national security and public safety. In this capacity, she leads approximately 500 personnel, with representation from 35 partner agencies, including federal and state law enforcement, the intelligence community, the Department of Defense, and foreign law enforcement counterparts. SOD uses cutting-edge strategies and technology to support drug law enforcement. The core SOD mission is to attack national and international criminal and narco-terrorism organizations by targeting their command and control communications and leadership infrastructure.   Prior to serving as the SAC of SOD, Ms. Woolcock served as the SAC of the DEA Office of Training. In this role, she led a staff of approximately 255 DEA and contract employees dedicated to supporting DEA training in Quantico, VA, and at several additional off-site foreign and domestic training locations. In this role, Ms. Woolcock supported DEA's mission to develop, deliver, and advocate preeminent law enforcement and non-law enforcement training to DEA personnel, as well as appropriate federal, state, local, and foreign, law enforcement counterparts. About Elks As a 150-year-old organization, they are 100% inclusive with a membership of close to 1 million diverse men and women in over 2,000 Lodges nationally, and while they consider themselves faith based, they are nondenominational and open to all creeds. The Elks have always prided themselves on civic duty, and the Elks Drug and Alcohol Prevention (DAP) program is the nation's largest all volunteer Kids Drug & Alcohol Use Prevention program. The Elks are also strong supporters of our brave men and women in the military, having built and donated the nation's first VA Hospital to the U.S. government. The Elks have donated more than $3.6 billion in cash, goods, and services to enrich the lives of millions of people!    About DEA The United States Drug Enforcement Administration was created in 1973 by President Nixon after the government noticed an alarming rise in recreational drug use and drug-related crime. A division of the Department of Justice, DEA is tasked with enforcing the controlled substances laws by apprehending offenders to be prosecuted for criminal and civil crimes. DEA is the largest and most effective anti drug organization in the world, with 239 domestic locations and 91 foreign offices in 68 countries.   Elks Kid Zone Website   Watch Awkward Conversations Season 1 the series:  Awkward Breakfast Conversations - Ep. 1  Awkward Lunch Conversations - Ep. 2  Awkward Dinner Conversations - Ep. 3  Elks Drug Awareness Program Website  Elks DAP on Twitter  Elks DAP on Facebook  Elks DAP on YouTube  DEA Website  DEA on Instagram  DEA on Twitter  DEA on Facebook  DEA YouTube Channel

In this episode, Jack talks with Psychotherapist turned Transformational Teacher, Healer, and Mentor Teresa Kaplan.Why is it so easy for smart, ambitious people to stay stuck in patterns that continue to hold them back? Sometimes we can recognize these patterns, and sometimes we can't.Have you ever felt like you want to change, feeling the strong need to make something happen because you know that life should be better, but you just don't know what or how to begin? You just know that you are struggling inside and need to do something.Teresa Kaplan is passionate about helping her clients create positive change from the inside out, allowing them to shift long-held patterns and issues that keep them stuck so that they can create deep change in a real way that is authentic to their calling.As an advocate for alternative, highly effective modalities that go beyond traditional therapy, Teresa began using energy work in her private psychotherapy practice in 2008. In 2016, she shifted from traditional therapy to the cutting-edge energy healing modalities she uses today.Working with hundreds of clients has allowed Teresa to gain a deep understanding of the hidden ways we accidentally sabotage ourselves and our lives. Her mission is to help others unlock their full potential by clearing the mental obstacles standing in the way.If you feel burned out, stuck, frustrated, insecure, or lost about your next-level life purpose, or you have a vision but are overwhelmed and don't know how to get there, this episode is for you.To learn more about Teresa Kaplan, visit https://connectwithteresa.com.Listen to the full episode - https://influencersradio.com/teresa-kaplan

It's time to go beyond therapy with Laurie Dierstein, a licensed clinical social worker and the owner of three integrated health clinics. She began Virginia Beach-based Reboot Mind-Body Health and now also has Reboot Functional Health and Reboot Intensive Programs. Each clinic serves a specific need of her patients with a mission of going beyond traditional styles of treatment by marrying them with holistic approaches. The goal is to motivate clients to become active participants in their overall health. We discuss something most high achievers have experienced, dealing with chronic stress and burnout. We talk about therapy and going beyond to heal the mind-body connection. Laurie is a past client, friend, and a fantastic guest on the show to talk about going beyond therapy and helping women live the extraordinary lives they were meant to be. Stay tuned until the end, when Laurie shares how everyone can start living a healthier and easier life and stop putting themselves last. Episode Highlights:  [02:59] Laurie owns three clinics based in Virginia Beach including Reboot Mind-Body Health, Reboot Functional Health Care, and Reboot Intensive Programs.  [03:20] Each clinic is slightly different to meet the needs of their patients. They are focused on a comprehensive approach to healing. [04:03] Laurie works with women who are high achievers and burnt out with chronic stress. They work on things like sleeplessness, irritability, mood changes, and infertility. [04:34] Laurie is also a mom and wife and has experienced many of the things that she treats women for. [06:38] Early on in her career, when Laurie was working with people who were dealing with mental health issues, she saw how burnt out the families were, especially the moms from dealing with all of it. [08:03] She also experienced her own difficulties with chronic stress. This has led her to look within and help heal herself. [09:43] During grad school, she experienced panic attacks while on the subway system in Boston. She had to figure out how to prevent this. [10:36] She also experienced infertility. Through IVF, she was able to have two lovely daughters. Unexplained infertility can often be a symptom of chronic stress. [13:40] Identify what you would do for a child and flip the script and do them for yourself. These are things like nutrition, sleep, and exercise. [16:12] We have so much information coming to us, we need to decide what information is right for us. Good information versus bad information. What does your body need? [18:30] People really need proper information about the nutrition that is right for them. Lab work can be very helpful. Sleep is also very important. [22:40] It's not normal to feel depressed and tired and sick all of the time. There's a better way. [25:53] Laurie shares one of her favorite client stories. It revolved around IVF treatment, anxiety, and eating gluten. She became more in tune with her body and foods she ate. She felt better, lost weight, and became less anxious. [30:36] Start tuning into the connection between your brain and your body. Slow down and spend time with yourself. Find a provider that can guide you towards the best direction for you. Find someone who has experience in holistic wellness or integrative practitioner. Links and Resources: Dr. Krystal Conner Dr. Krystal Conner Instagram Dangerous Woman Manifesto Optional Excellence Laurie Dierstein LinkedIn Reboot Reboot Instagram Rebook Facebook

Hey Group Practice listeners! The new podcast episode is out today! In this episode, I'm going to be talking all about expanding your services in your group practice beyond one on one counseling, specifically about offering CEs (Continuing Education) and/or training in the community.  In this episode we cover: Benefits of becoming CE providers in your group practice Why offer CEs to the community or therapists while making sure it aligns with your business values Who will be the training providers, Who will run and spearhead the program How long does it take to build, market, and reach the break-even point Ensuring the quality and relevance of the training by screening appropriateness This episode is sponsored by TherapyNotes. TherapyNotes is an EHR software that helps behavioral health professionals manage their practice with confidence and efficiency. I use TherapyNotes in my own group practice and love its amazing support team, billing features, and scheduling capabilities. It serves us well as a large group practice owner. Do you ever wish for a financial therapist who could relieve you from the last few months' bookkeeping, talk you off the edge when you're running into issues with Quickbooks, or help you work through a profit plan for growth? GreenOak Accounting does just that! GreenOak Accounting is an accounting firm that specializes in working with group practices. Their value goes WAY beyond bookkeeping; they can help you get on track for financial success. Schedule a free consultation by going to http://greenoakaccounting.com/tgpe  

LifeStance providers Carl Nassar and Nicholette Leanza dive into the topic of "Beyond Therapy" and explore the reasons why therapy works, what makes it work and how to find a therapist that's a match for you.  Learn more about Lifestance Health: Lifestance.com Follow LifeStance Health:  Instagram Facebook LinkedIn  

01. Lady Waks & Mutantbreakz feat. MC Navigator - We Keep the Fire Burning (Original Mix) [IBWT Music] 02. Sekret Chadow - The Roof Is On Fire (Original Mix) [Distorsion] 03. Bubble Couple - Block (Original Mix) [IBWT Music] 04. Ondamike - Hop Into The Rari (Original Mix) [Ravesta] 05. Majestic Noise - Escape (Bubble Couple Remix) [Guachinche] 06. Deekline & Firestar Soundsystem - Pickle Head (Original Mix) [Hot Cakes] 07. Detach - Timeline (Original Mix) [IBWT Music] 08. Ondamike - Control (VIP Mix) [Ravesta] 09. Huda Hudia & DJ30A - Knights Of Bass (Original Mix) [Kaleidoscope Music] 10. Bubble Couple - Beat Beats (Original Mix) [IBWT Music] 11. Saint Rider x DJ Groove feat. MC Spyda - Bring The Vibe (The Freestylers & Lady Waks Remix) [IBWT Music] 12. Bowser, FM-3 - Gun Fingers (Original Mix) [Banana Club] 13. F-Word & Dasha Meelo - All I Need I Got (DJ30A & Huda Hudia Remix) [IBWT Music] 14. Keoki, Ondamike - Disco Apolocolypto (Original Mix) [Ravesta] 15. Detach - Feeling Love (Original Mix) [IBWT Music] 16. Firestar Soundsystem - Pressure (DJ30A & Huda Hudia Remix) [IBWT Music] 17. Lady Waks & Mutantbreakz feat. MC Trug Shells - Groove Shake (Original Mix) [IBWT Music] 18. Sekret Chadow - This Is Old Skool (Original Mix) [IBWT Music] 19. Detach & Lexani - Finish Line (Original Mix) [Distorsion] 20. Bubble Couple - Back To The Old School (Original Mix) [IBWT Music] 21. DJ30A & Huda Hudia - We Are Energy (Original Mix) [IBWT Music] 22. Beyond Therapy x EchoFly & Angie Brown - Higher (Extended Rave Mix) [Champion Records] 23. Detach - Africa (Original Mix) [IBWT Music]

01. Lady Waks & Mutantbreakz feat. MC Navigator - We Keep the Fire Burning (Original Mix) [IBWT Music] 02. Sekret Chadow - The Roof Is On Fire (Original Mix) [Distorsion] 03. Bubble Couple - Block (Original Mix) [IBWT Music] 04. Ondamike - Hop Into The Rari (Original Mix) [Ravesta] 05. Majestic Noise - Escape (Bubble Couple Remix) [Guachinche] 06. Deekline & Firestar Soundsystem - Pickle Head (Original Mix) [Hot Cakes] 07. Detach - Timeline (Original Mix) [IBWT Music] 08. Ondamike - Control (VIP Mix) [Ravesta] 09. Huda Hudia & DJ30A - Knights Of Bass (Original Mix) [Kaleidoscope Music] 10. Bubble Couple - Beat Beats (Original Mix) [IBWT Music] 11. Saint Rider x DJ Groove feat. MC Spyda - Bring The Vibe (The Freestylers & Lady Waks Remix) [IBWT Music] 12. Bowser, FM-3 - Gun Fingers (Original Mix) [Banana Club] 13. F-Word & Dasha Meelo - All I Need I Got (DJ30A & Huda Hudia Remix) [IBWT Music] 14. Keoki, Ondamike - Disco Apolocolypto (Original Mix) [Ravesta] 15. Detach - Feeling Love (Original Mix) [IBWT Music] 16. Firestar Soundsystem - Pressure (DJ30A & Huda Hudia Remix) [IBWT Music] 17. Lady Waks & Mutantbreakz feat. MC Trug Shells - Groove Shake (Original Mix) [IBWT Music] 18. Sekret Chadow - This Is Old Skool (Original Mix) [IBWT Music] 19. Detach & Lexani - Finish Line (Original Mix) [Distorsion] 20. Bubble Couple - Back To The Old School (Original Mix) [IBWT Music] 21. DJ30A & Huda Hudia - We Are Energy (Original Mix) [IBWT Music] 22. Beyond Therapy x EchoFly & Angie Brown - Higher (Extended Rave Mix) [Champion Records] 23. Detach - Africa (Original Mix) [IBWT Music]

For Video Edition, Please Click and Subscribe Here: https://youtu.be/cWYaL-fvFYU Linda Purl New York theater credits include Broadway productions of The Adventures of Tom Sawyer and Getting and Spending and the Off-Broadway production of The Baby Dance. Among regional productions have been Romeo and Juliet, The Merchant of Venice, Hedda Gabler, The Real Thing, The Glass Menagerie, The Little Foxes, A Streetcar Named Desire, The Road to Mecca (with Miss Julie Harris), A Doll's House, Dinner with Friends(original production), The Year of Magical Thinking (originally for ETC), Hippolytus, Camille, Same Time Next Year, The Miracle Worker, Little Murders, All the Way Home, Nora, Copenhagen, Beyond Therapy, Love, Loss and What I Wore, Oliver, Grease, On a Clear Day, Threepenny Opera And The King and I. Partial film credits include Mighty Joe Young, The Walking Major, Leo and Loree with an upcoming release of Paul's Promise. She has had recurring roles on Homeland (Elizabeth Gaines); True Blood (Barbara Pelt); The Office, (Helene Beasley) and Hacks. She has starred in over 45 made-for-TV movies, and is especially known for Charlene Matlock on Matlock and Ashley Pfister (Fonzie's fiancée) on Happy Days. Ms. Purl currently tours with her solo concerts and as a recording artist, has released solo albums that include Alone Together, Out of this World, Midnight Caravan, Up Jumped Spring and Taking a Chance On Love. Past concert venue appearances include Feinstein's/54 Below, Lincoln Center Jazz, Naples Philharmonic, Catalina Jazz Club (LA), Crazy Coqs (London), Club Raye (Paris) and Satin Doll (Tokyo). https://www.lindapurl.com/

There are countless ways to expand your therapy expertise into additional streams of income! If you're interested in starting an online coaching program, creating evergreen digital content, or building your online presence, then today's episode if just for you. We're going to break down the "what", "how", and "when" for expanding your income online!Marissa Lawton is a licensed counselor who also happened to graduate from a top 20 business school - and she really loves integrating both her hard and soft skills. She is a corporate trained strategist, marketer, and offer-creation whisperer who lights up walking fellow clinicians through building aligned businesses beyond private practice. Marissa is the creator of Side Hustle Support Group, a 9-month mentorship that helps therapists repackage and repurpose their current clinical skills into an impactful online income stream. She also hosts a self-study program called Space Holder that captures therapists' creative energy and teaches them to develop their fist lucrative container outside of the therapy room. When she's not working, she's playing with her two kids, planning cross-country moves, and dreaming about Mexican beaches.Episode Highlights:Let's get your online side hustle started!Getting started might seem scary, but you don't have to start from scratch!Utilize the skills you've developed through your education and experience to create an online offering that doesn't re-invent the wheelWhat should you evaluate before you begin?High touch vs. low touchCreating a service that is low touch means you should focus on an offering that will be more "passive" for your audience - like an evergreen online courseCreating a service that is high touch means you want to be more involved with your audience - like a live webinar or coaching groupMarketingHow much time do you want to spend on marketing? You could choose to run automatic ads on social media platforms, or get more involved with your community/audience in order to spread the wordIncomeYou can create a high-value service offering that continues to bring in income, such as a membership service or subscription, or a one-time offering that will bring in a set amount based on how many you sell, like an online webinar with a select number of seats available.Links  & ResourcesMarissa LawtonThe Empath Rising PodcastSummer Slowdown SeriesThe Success Principles by Jack CanfieldGreenOak AccountingTherapy For Your Money Podcast

Conversations with David Hyde Pierce on April 12, 2013. Moderated by Richard Ridge, Broadway World. Emmy and Tony Award winner David Hyde Pierce can be seen on Broadway starring opposite Sigourney Weaver and Kristine Nielsen in Christopher Durang's new comedy, "Vanya and Sonia and Masha and Spike." The show opened in March following sold out runs at Princeton's McCarter Theatre and at Lincoln Center. Pierce made his professional and Broadway debut in 1982 in Durang's "Beyond Therapy" and went on to create roles in Off-Broadway productions of Mark O'Donnell's "That's it Folks!," Richard Greenberg's "The Author's Voice" and Jules Feiffer's "Elliot Loves" before returning to Broadway in "The Heidi Chronicles." In 2005, Pierce originated the role of 'Sir Robin' in the Broadway production of "Monty Python's Spamalot," and was nominated for a Drama Desk Award. In 2007, he won the Tony Award and earned another Drama Desk Award nomination for his role in the musical comedy "Curtains." Perhaps best known for his role on TV's iconic comedy, "Frasier," Pierce earned four Emmy Awards among many other accolades. His film credits include "Little Man Tate," "Sleepless in Seattle," "Nixon," "Down With Love," and the Sundance Film Festival Selection, "The Perfect Host." Follow the SAG-AFTRA Foundation on social media: Instagram: https://www.instagram.com/sagaftraFOUND/ Facebook: https://www.facebook.com/sagaftraFOUNDATION Twitter: https://twitter.com/sagaftraFOUND The SAG-AFTRA Foundation is a 501(c)(3) nonprofit organization dedicated to providing the most comprehensive, educational and state-of-the-art resources to SAG-AFTRA members. The Foundation believes that the contributions made to our culture by performing artists are not only valuable, but essential. The SAG-AFTRA Foundation relies entirely on donations to provide emergency assistance and free educational programs to SAG-AFTRA artists. This conversation is made possible thanks to the generosity of our supporters. Over the past year, the Foundation has given over $6.5 million in disaster relief to more than 7,000 performers. If you are a SAG-AFTRA artist and need help, please ask. And, if you can help, please give at: https://sagaftra.foundation/donate All donations are tax-deductible.

Josi Richards is a Marriage and Family Therapist who specializes in Trauma, PTSD, Anxiety, Depression, Anger management just to name a few. She uses Cognitive Behavioral therapy (CBT), Solution Focused Brief (SFBT), Neurofeedback, Eye movement desensitization Reprocessing (EMDR) To work through emotional blockages and traumatic experiences with her patients. She is on Psychology today.com at Josi Richardsat Beyond Therapy.com at Josi Richardson Instagram under once_upon_mental_healthOn Facebook Josi Mara RichardsHer motto is " Trauma, chaos, and loss do not need to define you and your destiny. I believe that we were created with resilience an the ability to use hardships to become better stronger and wiser."Here is the Ted Talk we spoke about in this episode Be the Warrior not the worrierIf you enjoy or find value in Rock Your Best Life Podcast please consider supporting us on Patreon by becoming a Patreon you will help us reach more people and create quality content.You get exclusive content such as free Q and A's consultations with me and early access to episodes. Become a Patreon @www.Patreon.com/rockyourbestlifepodcastWork with me I am a Certified health coach @www.rockinrosawellness.comI offer 1 on1 Coaching and free discovery call!Join my free facebook accountability group RockinrosawellnessVIPRockstars We have daily motivation healthy tips and free challenges every month.Join my weekly newsletter list I send this out every Friday!Have a question or would you like to see a particular guest on the show?Email me @rockyourbestlifepodcast@yahoo.comor message me on Facebook or Instagram

Verónica del Cerro and Michael Kevin Darnall are both accomplished actors in the Washington D.C. area.   Veronica’s credits include Othello at The Shakespeare Theatre Center, Arabian Nights at Constellation Theatre, El Paso Blue and Ana en el Tropico at GALA Theatre, August: Osage County at Everyman Theatre, Adventures of Homer at The Kennedy Center, Savage in Limbo at MetroStage, My Children! My Africa! and Rock n' Roll at Studio Theatre, and How the Garcia Girls Lost Their Accents at Roundhouse Theatre. Currently making her home base in Spain, she is beginning to devise and develop her own directorial projects. Michael’s New York credits include Romeo & Juliet at TheatreRats, Beyond Therapy at Bohemian Archeology and Arden: The Lamentable Tragedie… at Spring TheaterWorks. In DC he has appeared at The Shakespeare Theatre, Ford’s Theatre, Roundhouse Theatre, Studio Theatre, Mosaic Theatre Company, Theatre J, Imagination Stage, MetroStage and Constellation Theatre and he is a company member at The Hub and Spooky Action Theatre. His regional credits include the Cincinnati Playhouse, Chautauqua Theatre Company, and Rhinoleap. Michael has been nominated five times for DC’s Helen Hayes Award, and he has appeared on HBO's The Wire. Veronica and Michael will be starring together in Frankie & Johnny in the Clair de Lune, as part of MetroStage’s Tribute to the late great American playwright Terrence McNally streaming online from April 21-25 at MetroStage.org

MAT SKY Radio вернулось с очередным новым эпизодом. На этой неделе у меня музыка от Chris Lake x Armand Van Helden, Third Party, Dosem, No Mana и многих других… MAT SKY Radio is back for another brand new edition. This week I have music from Chris Lake x Armand Van Helden, Third Party, Dosem, No Mana and loads more… Check out MAT SKY's music here: promodj.com/MAT.SKY Tracklist: 00:00 MAT SKY RADIO Intro 00:58 Kody - If You Wanna [TOOLROOM] 04:48 Harry Romero & Weiss - Where Do We Go (A-Trak Remix) [ISLAND] 08:23 Beyond Therapy x EchoFly & Angie Brown - Higher (Club Mix) [CHAMPION] 10:59 Chris Lake x Armand Van Helden ft Arthur Baker & Victor Simonelli - The Answer [POSITIVA] 13:51 Gene Farris & ATFC - R U [TOOLROOM] 17:32 Dave Summit - Way Of Love [TOOLROOM] 21:05 Bluckther x Sebastian Reza x Alex Hoing - La Mangueleña [CARTEL] 24:27 Les Castizos - African Voices [CARTEL] 28:19 Dosem - Tower [ANJUNADEEP] 32:57 LO’99 - Acid Worldwide [MEDIUM RARE] 37:06 Foxtrot ft Katie Sky - Run Back [SOSUMI] 40:32 Meduza ft Dermot Kennedy - Paradise (Cassian Remix) [VIRGIN] 45:26 Agents Of Time - Midnight Drive [AFTERLIFE] 49:42 Third Party - Together (Pete K Extended Remix) [UNKNOWN] 53:51 No Mana & EDDIE - Fragile Human [MAU5TRAP] 57:07 No Mana & Chipzel - Secret Level [MAU5TRAP]

TRACKLIST: 1. Redondo & Ruben Golde - OOALH 2. Jason Derulo, Nuka - Love Not War (Secondcity Remix) 3. Lady Indiraa - Shrink 21 (Block & Crown Remix) 4. Freejak Ft.TLX - Streets Of Love 5. Imanbek x Goodboys - Goodbye 6. Katy B - Lights On (Mercmonk Feeling Good Club Edit) 7. PBH Jack x PS1 ft Hannah Boleyn - Coffee & A Coke (Club Mix) 8. Armin van Buuren feat.Duncan Laurence - Feel Something (Tom Staar Remix) 9. Secondcity & Paul Woolford ft.Andrea Martin - All I Want (Eden Prince Remix) 10. Beyond Therapy x EchoFly & Angie Brown - Higher 11. New Order - Be a Rebel (Paul Woolford Remix) 12. Tom Ferry & Sylvie - Inhale Exhale 13. Latroit ft.Charlz - Don't Give Up 14. London Grammar - Baby It's You (Kölsch Version) 15. Sub Focus & Wilkinson ft.Empara Mi - Freedom (Sub Focus & Wilkinson vs High Contrast Remix)

racklist.01. Kasablanca - Hold Me Close (Extended Mix)02. Meduza feat. Dermot Kennedy - Paradise (Short Edit)03. Double MZK & Veda - Wicked Games (Extended Mix)04. Felix Jaehn feat. Nea & Bryn Christopher - No Therapy (Vintage Culture Remix)05. Hidden Face - A Little Green Light (Extended Mix)06. Different Stage & Thomas Klipan - Red Light (Extended Mix)07. Topic & A7S feat. Lil Baby - Why Do You Lie To Me (KC Lights Remix)08. Phil Soda - On My Own (Extended Mix)09. Chris Lake x Armand van Helden Feat. Arthur Baker & Victor - The Answer (Extended Mix)10. John Summit & Guz - Thin Line (Extended Mix)11. Jack Wins x Wilwin x Walt - No Turning Back (Extended Mix)12. Oliver Heldens & Kiko Bun - Break This Habit (Extended Mix)13. Panuma - Bird Call (Tom Ferry Remix)14. Selace - So Hooked On Your Lovin (Gorgon City Extended Remix)15. Sam T Harper - In Love With You (Original Mix)16. BLK - Drifting Away (Extended Mix)17. Diplo & Sonny Fodera - Turn Back Time (Extended Mix)18. Wankelmut & Anna Leyne - Free At Last (Martin Ikin Extended Remix)19. Pleasure Generation feat. Salena Mastroianni - Sacrifice (Extended Mix)20. Beyond Therapy x Echofly & Angie Brown - Higher (Beyond Therapy Extended Rave Mix)* PAUL MORRELL GUESTMIX *

1. Sekret Chadow - Don't be afraid (Original Mix) 2. Stunbreaks - Bounce (Original Mix) 3. DJ30A & Huda Hudia - I Come Correct (Original Mix) 4. SevenG & Droid Drummers - Do It (Original Mix) 5. Sekret Chadow - Don't be afraid (Original Mix) 6. Pavane - Temple Breaks (Original Mix) 7. Audiobotz - Mind Eraser (Original Mix) 8. G-Force - Raise 'Em (Original Mix) [Syndicate Nation] 9. The Gulf Gate Project - Top Gear (Kid Panel Remix) 10. INSPIRED - In Beat We Trust (Perfect Kombo Remix) 11. K-Deejays - I'll Be Back (Original Mix) 12. Deibeat - Rise Up (Original Mix) 13. SevenG & Rhades - FukingTrumpet (Original Mix) 14. Bubble Couple - Block (Original Mix) 15. Beyond Therapy x EchoFly & Angie Brown - Higher (Beyond Therapy Extended Rave Mix) 16. Huda Hudia & DJ30A - War Pigs (Original Mix) 17. Hankook - Comeback (Original Mix) [Elektroshok Records] 18. INSPIRED - Repeat (Shade K & Lady Shade Remix) 19. JIRO - Chantman (Dark Like '93 Remix)

No stories in this episode - this is for anyone who wants to make significant shifts to their mental health today. In this flipped interview, we discuss mental health by using physical health as an analog - focusing on the importance of setting SPECIFIC goals, tracking progress, and how to wade through the hundreds of things you could be doing (meditation, journaling, walks in nature, etc, etc.) to create the few things you can turn into your "mental health workout". Most importantly, we break down some of the most important tweaks that can make drastic changes in your anxiety levels no matter who you are and how you can easily integrate these things into your routine without much additional time and effort by leveraging the circumstances of your everyday life as opportunities to practice new skills. Join us - it's a fun one! To sign up for the mental health tracking challenge, fill out this quick form (30 seconds, I promise): https://forms.gle/GuLhu6Yntwp3gUPr5 To learn more about Women's Empowerment and Impact Coach Robyn, check her out on Instagram: @ownthislifecoaching --- Support this podcast: https://podcasters.spotify.com/pod/show/beating-burnout/support

Critic Nick Pinkerton and programmer Nellie Killian join Nicolas Rapold to discuss isolation viewing and their recent favorites. You may have encountered Nick's criticism in a variety of publications as well as DVD essays and commentary. And Nellie's superb series Tell Me: Women Filmmakers, Women's Stories is featured on Criterion Channel this month. They three talk about the last things they've been watching, including: the pre-code films of William Wellman; the extraordinary documentary series Eyes on the Prize about the Civil Rights Movement; two movies by Robert Altman, Dr. T and the Women and Beyond Therapy; and more. Original music by Nate Kinsella Photo by Steve Snodgrass

Justin and Mark decide to challenge themselves this week by watching Serge Gainsbourg's 1976 directorial debut JE T'AIME MOI NON PLUS, newly unearthed from Kino Lorber. They also dive into the long-delayed PHANTASM COLLECTION Blu-ray from WELL GO USA, big novelty sphere and all, as well as exploring the experimental side of Gus Van Sant and his divisive "Death Trilogy", with the release of GERRY from Shout Select. CULT Phantasm Sphere Collection (well Go) Deadly Manor (1990) (arrow) Rasputin the Mad Monk (shout) X the Unknown (shout) Don't Look Now (4 K/uhd) (studio Canal) the Point (mvd) Tokyo Caligula (impulse) True Story of A Woman in Soapland (impulse) Woman in A Box 2 (impulse) CLASSIC Accident (1967) (kino) the Criminal (1960) (kino) the Man Who Was Sherlock Holmes (1937) (kino) Munchhausen (1943) (kino) the Day of The Dolphin (kino) the Light at The Edge of The World (kino) Teorema (criterion) Antonio Gaudi (criterion) the Ugly Duckling (1958) (sony) Beyond Therapy (scorpion) Gerry (shout) NEW Jojo Rabbit (fox) a Beautiful Day in The Neighborhood (sony) Another Day of Life (2018) (g Kids/shout) Black Mother (grasshopper) Disturbing the Peace (2020) (universal) Extracurricular (2018) (samuel Goldwyn) Twilight Zone: Season 1 (paramount) Frankie (2019) (sony) the Freshmen (2018) (distrib) 21 Bridges (vvs) We (2018 Aka Wij) (artsploitation) Snatchers (2019) (warner) Midway (2019) (elevation)

AFTERBUZZ TV -- Younger edition, is a weekly "after show" for fans of TVLand's Younger; this week the hosts Lindsey Miller, Sam Davidson, and Tamra Brown discuss episode 8. Younger is an American television comedy-drama series based on the Pamela Redmond Satran novel of the same name. The series stars Sutton Foster as the lead character, with Hilary Duff, Debi Mazar and Miriam Shor co-starring in other main roles. The single-camera project, was created and produced by Darren Star. Patricia Field, who worked with Star on Sex and the City, will be a costume consultant on the production. The first season will consist of 12 episodes, and is set to premiere Tuesday, March 31, 2015 at 10 pm. Follow hosts @DanicaKennedy @Annika_Michelle @SamD43 on Twitter! Follow us on http://www.Twitter.com/AfterBuzzTV "Like" Us on http://www.Facebook.com/AfterBuzzTV For more of your post-game wrap up shows for your favorite TV shows, visit h --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Learn more about your ad choices. Visit megaphone.fm/adchoices