Podcasts about bosses

When it's extremely difficult to make up your mind.  Having the power of choice can actually weaken someone.  On this episode we're going to explore why people make the choice to be defiant.  Or is it a choice?  Plus… why do bosses think they have the choice to over control their employees? I'm Arroe.  Life is a series of choices.  Who decides when you're not making it the right choice?  Is it the fear of going wrong?  The greatest lessons in life are often lost inside hidden away attempts and concepts.  It's time to reopen your heart. Having a choice is a daily gift.  On this highway we learn to trust mirages… What is the choice?  Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

When it's extremely difficult to make up your mind.  Having the power of choice can actually weaken someone.  On this episode we're going to explore why people make the choice to be defiant.  Or is it a choice?  Plus… why do bosses think they have the choice to over control their employees? I'm Arroe.  Life is a series of choices.  Who decides when you're not making it the right choice?  Is it the fear of going wrong?  The greatest lessons in life are often lost inside hidden away attempts and concepts.  It's time to reopen your heart. Having a choice is a daily gift.  On this highway we learn to trust mirages… What is the choice?  Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

Tu travailles jour et nuit. Tu sacrifies tes week-ends. Tu donnes tout. Et pourtant… ton chiffre d'affaires stagne, ta marge s'effrite, et tu n'as jamais eu aussi peu de liberté.Si t'as l'impression d'être coincé dans une roue qui tourne sans avancer, cette vidéo est pour toi.Pourquoi certains bossent moins mais gagnent plus ?Pourquoi ton business dépend encore trop de toi ?Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

The boss of the Milwaukee Metropolitan Association of Commerce (MMAC) says 99% of business leaders are “afraid to speak out” against Trump. We discuss why these big business cowards take no responsibility for the neo fascist political party they have supported and financed for their own benefit. While the corporate elites cower, a Federal judge blocked the deportation of UW-Madison engineering students, one of the first victories against mass deportation of international students. The Milwaukee County Board moved to safeguard due process rights after the ICE arrest at Milwaukee County Courthouse. But one conservative County Supervisors abstains, fearing reprisals from the Trump regime. As utility shutoff season commences in Wisconsin, we discuss the increasing concern about the future of home energy assistance, which had been disseminated by DOGE, and is so complicated only a third of those eligible in Wisconsin enroll. We preview state legislation being drafted to enact a 2% of income cap utility bills which will be far more effective in reducing the energy burden on hard pressed households. We welcome State Representative Christian Phelps to discuss shameful Republican state legislation that would add many new hoops to jump through to qualify for Medicaid, forcing many to go without critical health care and long term care. The public reaction to this destructive bill prompted Republicans to put it on hold for the time being, yet another sign that the backlash against proposed national cuts to Medicaid to fund tax giveaways for the rich and the failure to enact BadgerCare Expansion are becoming third rails for the MAGA GOP.

BOSSes Anne Ganguza and Andy Roth delve into the nuances of voice acting from the perspective of a seasoned casting director. They explore strategies for success in auditions, emphasizing the importance of authenticity and making genuine choices. Listeners will gain insights into the casting process, understanding the client's vision, and the significance of following instructions. The episode addresses the impact of AI on the industry while reinforcing the irreplaceable value of human connection and unique interpretation. Anne and Andy also discuss practical advice for creating compelling auditions, handling limited information, and cultivating a resilient mindset in the face of industry challenges.   00:04 - Anne (Host) Hey, what's up bosses? Join our VI peeps today and gain access to over 350 hours of pre-recorded workshops designed to enhance your voiceover skills. From industry insights to practical techniques, our workshops cover a wide range of topics. As a VI peeps member, you'll also receive a 15% discount on current workshops and free monthly workshops to keep your skills sharp. Don't miss out on this opportunity. Sign up for VI Peeps membership now at vopeeps.com    00:39 - Speaker 2 (Announcement) It's time to take your business to the next level, the boss level. These are the premier business owner strategies and successes being utilized by the industry's top talent today. Rock your business like a boss, a VO boss. Now let's welcome your host, Anne Ganguza.    00:58 - Anne (Host) Hey, hey everyone. Welcome to the VO Boss Podcast. I'm your host, Anne Ganguza, and today I am so excited to have a very special guest Andy Roth with me here today. Andy has a career that has spAnned three decades and he is an award-winning casting director, voice director, producer and writer and is known for you Would Do it Too, too Hot to Handle Valeria, the Animal People, the Forest, my gosh this list Andy is going on and the Peculiar Adventures of Willoughby Starr. He's also served as casting director on over a thousand commercials. That is a lot of commercials. So welcome to the podcast, Andy. It's so wonderful to have you.    01:40 - Andy (Host) Thanks, I'm excited to be here. Thank you.    01:43 - Anne (Host) Gosh, I met you not so long ago and I'm not quite sure why it took so long for me to meet you, but I thank Jessica Blue for introducing us because I feel like I've known you forever and you're just amazing and I want the bosses to know how amazing you are as well. And so let's talk about you and your long, spanning career of gosh over a thousand commercials and all these productions. It's amazing. How did you get started?    02:11 - Andy (Host) Honestly and yes, I think I have worked on more commercials than any human being should probably ever really be exposed to. I got started in this business actually back in 1994. A friend of a friend heard about an opening for an assistant at a talent agency which was called CED at the time. Now it's called CESD and it was in the voiceover department and so I became an assistant there, did that for several years, then became their in-house casting director and did that till 2007 and then left on my own and I actually I didn't even know when I started that voiceover was its own thing.    02:49 - Anne (Host) I was going to ask you, did you get the experience on the job as you were casting?    02:53 - Andy (Host) Yeah, like I mean, of course I always knew about commercial voiceover and animation and things like that, but I didn't know how vast it was until I was really in the heart of it and I just I fell in love with it.    03:05 - Anne (Host) I can't imagine. I mean and so how has the industry changed and evolved over the years?    03:10 - Andy (Host) for you, Well, it's gotten bigger. So many changes I mean, it's been 30 years since I went through a couple of strikes. It was the explosion of the non-union entity, which has become a whole other thing, of the non-union entity, which has become a whole other thing. Yeah, it's become its own area of the business. I've discovered that voiceover is anytime there's something new. Voiceover is the first thing there. Oh, how interesting. Anytime there's a new piece of technology, somebody wants to put a voice on it. Siri's a voiceover. Yeah, Alexa is a voiceover. Holograms have voiceovers. Augmented reality, virtual reality. When I started in this business, it was basically 13 chAnnels and people really mostly only cared about four of them. Yes, yes.    03:58 - Anne (Host) I hear you on that.    04:00 - Andy (Host) And then cable became a thing and you had this box with three numbers on it so you could have 999 chAnnels. And now with streaming, it's just icons. I mean it's unlimited. It goes on forever. And people have discovered content from other countries that's exploded and become a thing and voices are everywhere. We are the first area of the business to adapt and change and we're sticky Once we're in a place voiceover is just going to be there.    04:32 - Anne (Host) I love that. I love that, and especially because you've been in the industry for so long and we talked about, you know, the explosion, like the technology explosion too, I mean, with first it was all union, then non-union kind of came aboard, because of the pay to place, I'm sure, and the online casting, and now we're under the threat of AI. But I guess I'd love to hear your thoughts on that, because here you are with all these wonderful, hopeful things that you're saying about voiceover, which I love and I like to tell my bosses out there as well. I mean, I think there's always a place for human voiceover.    05:00 - Andy (Host) What are your?    05:00 - Anne (Host) thoughts on that.    05:02 - Andy (Host) I think there are certain areas of the business that may be a little safer from AI, especially animation. People love to go to cons to meet the voice of their character. You can't really replace that with AI. Is it 100% safe? Maybe not, but there are people dealing with it, fortunately, and AI does a lot of good things for the world too. I mean, I've seen programs where people who have no ability to speak can speak because AI helps them. It helps search engines. I mean there is definitely a place for AI. But as far as the possibility of replacing humans in this business, there are people out there that are concerned about it, that are helping, and fortunately they've been on it since it really became apparent it could be a thing. I'm optimistic. I'm realistic in that there will be some areas where AI is going to be there. It already is, but I'm very, very optimistic about protections.    06:02 - Anne (Host) Me too, me too.    06:03 I really am. There's a lot of people fighting and, with the strike going on, which you know, fingers crossed, people are listening. I mean, I think what it is is we have voices and hopefully they're being heard, because a lot of people out there, like back in the beginning, when I got into voiceover, like what is that? Even, and even when you said you started, like what is that? Even. I think bringing awareness to the global community about voiceover and what we do as creatives and how important the creative process is, I think is really impactful in helping get us protections as we move forward. And I am a tech girl and I believe there is a lot of space for AI in the world, but I also believe there's a lot of space for human and human engagement and human creativity and I think that people crave that, no matter how good. And let's talk about this because an AI voice is perfect, and so you and I also with my students, we talk a lot about like I don't want a perfect voice when I'm directing my students.    07:02 I mean I want to hear that imperfection because that makes it real and that makes me engage and connect with it. Let's talk a little bit about that, about really, what should voice actors be doing now to really separate themselves from the crowd and also from AI?    07:19 - Andy (Host) Well, honestly, being a presence having a discussion, you don't connect to AI the way you connect to another human when it reaches its pinnacle and it's really ready to go, which it's not totally now. But the good thing about AI is it's going to do whatever you ask it to do whenever you ask it to do it. The bad thing about AI is it's going to do whatever you ask it to do whenever you ask it to do it. There are some moments that have come out of projects I've worked on. I mean, I've voice directed I think like 22 shows now that are on the air. The great thing is you give a direction and the human being interprets it their way, and sometimes you're right on the money and you're really simpatico and it's exactly what I asked for. Thank you. Sometimes we figure things out together. Sometimes they come up with something they thought was what I asked for but was actually a lot better.    08:13 When you get two independent minds with human experience, with a life, with a history of interacting with other human beings, there's a thought process there that, at least at the moment and honestly, in my opinion, for the foreseeable future, can't really be duplicated. I mean, ai is intelligence, but it is artificial and we cast based on human interaction. We connect with roles we direct. This whole industry is built on human interaction. So, to a certain point, yes, ai can get things going and smooth out maybe some of the bumps, but it's not really going to be the base on which this industry is built for human beings to connect to other human beings. That being said, not everybody sees it this way, so be vigilant and be aware of it. But as far as how people can stand out honestly, the best way for people to stand out is to be themselves. There are a lot of people I know that send me auditions that I can hear they're trying to be what they think the right thing is. Yes, absolutely.    09:19 And if I've asked you to audition, you're already the right thing. I don't know if you'll get the job, but I know that you can do the job. And I've had auditions that people didn't book lead to other jobs that they didn't even audition for. That actually just happened on a show I am on right now. I cast somebody and he was like did I audition for this? I'm like well, sort of you auditioned, like two shows ago.    09:43 - Anne (Host) I love that. Yeah, I think that's very encouraging for those actors out there who it's such a personal thing, right.    09:50 When you submit an audition, it's so hard not to get personally attached to it or feel like, oh gosh, like I really, really want this, and but then you don't hear anything or you may never get feedback and then ultimately that is, I think, when people are first starting out in this industry. It's something very hard for them to kind of let go of because it is such maybe a personal connection. But I love that you're talking about bringing yourself and the human element to the audition, because that's really what makes you unique. I'll even tell my students, because I do a lot of work in the long format narration like corporate and e-learning, and most people feel like that shouldn't have like a point of view or a feeling, but most absolutely it does, because I tell people to think about like okay, if you're going to do an e-learning module like what was it when you were going to school that made someone your favorite teacher?    10:37 Like did you have a subject that maybe you hated, but then all of a sudden, the teacher was amazing and then that's what made it interesting. And that's the type of voice that I want to come out. And there's always a point of view in that, believe it or not, it's a point of view that says I care about you as a student, that I care that you learn, and so that comes through in the voice and if you're just reading the words, or even if you're just reading the words in the sound in which you hear them all the time, which typically is very robotic for a lot of e-learning, I go on and on about why that happened for so many years. Because nobody chucked us on it and nobody was an actual teacher.    11:09 And I say that because I was a teacher in front of the classroom for 20, some odd years. But still, even if you think in what you hear, I have so many students that say, but I hear it on the commercial, it sounds like this and I'm like, yeah, but that might not have been what got them cast. It might be at the moment that someone directed them to be. And even you, if I ask, if you're directing someone, do you not only sometimes have to like talk to the client to see?    11:33 if that's what the client is thinking is good, and even what you might be like, this is great. This actor's got it nailed. The client might want something different.    11:41 - Andy (Host) Well, I work with the actor for the client. The actor is sort of the most profound connection artistically. That's the relationship that ultimately creates a thing. But I do work for the client and ultimately what they want.    11:57 I kind of think of it like this: this is a hive mind and there's a queen bee somewhere in an office with a checkbook and the rest of us are workers trying to make sure the hive is ready before it rains. So I very, very much listen to the client, want to do what the client says. I'm very much back and forth with the client. If it's a dubbed show that I'm directing, I am constantly because I could get a read that I'm like that's brilliant, that's amazing, I love it. And then I'm like that's brilliant, that's amazing, I love it. And then I'm like let's compare it to the original, because if it doesn't match or do the same thing, I'm like I love it, but we have to shelve it and we have to do what the client wants.    12:34 - Speaker 2 (Announcement) But at the end of the day.    12:35 - Andy (Host) The client has built a container that they want filmed with humAnness and it is my job to fill it up, and that happens just through us connecting. Part of what I listen for on an audition is do I get you? And I don't mean like, are you a Pisces? Or something like that. I mean Long walks on the beach, right exactly Pina coladas getting caught in the rain, not that I have a problem with pina coladas or getting caught in theaters, or long walks on the beach.    13:05 - Anne (Host) Long walks on the beach.    13:06 - Andy (Host) Let's be fair, but I do feel like I want to feel like there's a human there, because that makes me feel like I know what's going to happen in the studio, and I don't want any of us to do more work than we absolutely have to do. I want us to connect, do something, play with it, do it again, move on, and it needs to be within the container that the client has given me to fill. Does that make sense?    13:29 - Anne (Host) Yeah, absolutely so. Then if there are casting specs, and someone is paying attention to the casting specs, which a lot of times. Casting specs sometimes seem fairly generic and sometimes not. How much should they be paying attention to that and trying to like create that versus bringing their most human self to that read?    13:49 - Andy (Host) Well, I will say this about casting specs and yeah, sometimes they kind of suck and I'm sorry about that, but they are designed to help you. They are coming from somebody's mind to kind of get you to the place where you can be you in the relevant context. Sometimes they're just not actable, sometimes they are a little generic, sometimes they're not understandable, but more often I think they are. And even if we don't realize every nuance, just reading them often will get us to an emotional place where we can be ourselves, because happy you is very different than sarcastic you or sad you or angry you. I say, always pay attention to them, always read them. But If you can't make a choice based on them, then maybe sort through or throw them away, but they are always there to help you.    14:42 I mean, I do know some people that are like, oh, I never read the specs. I don't think that's the best way to go. Sure, yeah, always. But I mean again, you don't have to be beyond completely throwing them away. They're garbage or they're just completely not you, but they weren't paying attention to. Also, sometimes we put things in there like naming conventions, if I say I want the file named role underscore full name.    15:12 And I get something that's named a different way Well before I've even listened to it. You've told me you don't really care what I have to say. So yeah, I would say, always pay attention to them.    15:21 - Anne (Host) I like how you turned that into the message right.    15:24 So a lot of people I'll be like I don't understand why I will have my students name files a particular way, because they submit their homework via Dropbox and they have to name it a certain way. And if they don't, I spend half of their session looking for their file and what happens is they seem to think I'm insane for asking them to name it a certain way. And I'm like, in reality, there's a method to my madness here. I mean because if you audition, you're going to have to name that file specifically the way they're asking, otherwise it's going to get tossed to the side. I like how you mentioned that. Yeah, you've already shown that you have respect for the process by naming the file correctly, and it shouldn't be a task to do that. And if it is a task, then I think maybe you should get some computer training that can help you to do that task and to pay attention, because that's part of our job when we're submitting.    16:14 - Andy (Host) I mean, you're going to name it something.    16:16 - Anne (Host) Yeah, exactly, why not name it what we're asked?    16:19 - Andy (Host) You're not just going to send me a file with nothingmp3. Also, I find that some of these rules, although they may not be the creative process, they may not be the most fun thing, they actually do help their creative process. I was talking to somebody who is an on-camera person. They're working on their own project and it's great. And I said have you ever interned or worked at a studio? You know, it's California, there's no shortage of them. If you can't intern, well, I think that that would get in the way of my creativity and I don't want to. And it's like okay, I understand that, because you'll be in their world with their creativity, but nobody writes a screenplay and says I can't wait to gaff this.    17:08 I'm so excited to hire security and craft services. Working at a place where all of these things are just laid out, where, okay, I have to get security, I have to get craft services, I have to go file permits, I have to do all this. Working at a place that's going to make the part you don't really want to do easy, is going to free you up to focus on the creative and it's actually going to make you creatively freer because, whether it's a horror movie or a romance or a comedy, getting a permit is getting a permit. It's the same and getting used to saying, okay, I know how they want to do this. It's the reason I have people name certain things is because often I want all characters grouped together.    17:44 - Anne (Host) Yeah, absolutely yeah. There's a good reason for that, yeah.    17:47 - Andy (Host) Right, and if yeah, like you said, if I have to go searching through it, you made my job harder finding you than it was for you. To just name it what I asked you.    17:55 - Anne (Host) Don't give you homework, like I shouldn't be giving you homework.    17:58 - Andy (Host) If I'm submitting an audition, it should not be homework for you to find it and to listen to it, and yeah, absolutely, and I just may not do it.    18:06 - Anne (Host) Yeah, exactly Because you know you're that student that sits in the back of the class. I mean, I already know this about you, having met you briefly, but those are the most fun students.    18:18 Those are the creative ones that usually you know they're geniuses in the back because they're causing all kinds of trouble, but you don't want to give your talent agent or your casting director or whoever it is you're submitting your audition to. You don't want to give them homework. So what other things would you recommend are strategies for maybe creating a great audition or getting to the humAnness and the point of view that you're looking for in terms of this is the actor I want to cast.    18:45 - Andy (Host) Don't try to get it right. Don't deliberately get it wrong, like if the role obviously needs you laughing. Don't cry uncontrollably to stand out, because you will stand out.    18:55 - Anne (Host) It's got to make sense.    18:56 - Andy (Host) Yeah, you will stand out, just not necessarily in the way that you want to, but being free. So many people hang so much on every audition it's like, oh, this is the job, and if I don't get this job I failed. And that's not true. Every audition can get you more auditions. An audition is really a way to establish or reaffirm a relationship, and you'll get opportunities and jobs in this business. For one reason Somebody wants you to have that opportunity, or that job.    19:30 It's not who you know in this business, it's who knows you. Ah, I like that in an audition. I mean there's nothing anybody can teach you that's going to guarantee you're going to book everything. But being yourself making simple choices, Okay, the first line is oh my God, I'm so happy, I'm going to make a simple choice, I'm going to smile, I'm going to be happy, I'm going to listen back to it, see if it needs more or less, maybe something else, but trying to be like what did they mean by? You know, let me stand out, let me get? You don't know enough at the audition point to stand out. You haven't heard the other auditions. You don't know about the conversations the casting director's having with the client. You don't know who else is cast. You don't know. You don't know any of the parameters. Sometimes somebody wants somebody who's done a million jobs because of a time frame or there's a relationship.    20:22 Sometimes we specifically don't want that person because that person has been heard on eight other projects. You don't know any of that. What you can know is that if we've reached out to you with an audition, it's because there's already something there that lets us at least believe we know who you are. I don't need some weird ethereal happy, I just need your happy. It's also not about not needing to be directed. It's about us getting you so we can ask can you be?    20:52 - Anne (Host) happier. Can you be less happy?    20:53 - Andy (Host) Yeah, keep it simple, there's a thing.    20:57 I call the four disagreements yeah, if you want to serve the script, don't worry about serving the script. If you want to get it right, don't worry about getting it right. If you want to play the moments, don't worry about playing the moments. And if you want to make the casting director happy, don't worry about making the casting director happy. Make the choice or choices that you feel are right for the script, for the context and any other information you may have.    21:23 Was somebody that I felt was really, really right for a role. I thought they were great, they were perfect for it. I read them, I gave my little write-up about why I thought they were terrific, sent it off. The director really, really liked them and it came down to that person and one other and the other person ultimately got it. That's what the director was feeling and it was a great person. I mean, the person who got it was terrific and I liked them and I worked with them all the time. But I was like, not the way I would have gone, but fine. So season two.    22:08 I ended up directing season two and I called this actor and I said do you mind if I submit you? And they said sure, what do you want me to read? I said I don't. I want to resubmit your audition from last season. And they said but it didn't get me the job. I said no, but there's different brains involved now and we'll see. And the person who booked it last time can't do it again because they did it last time and it's a different role. And I resubmitted it with the same write-up and they ended up getting a lead role. So we hang so much on everything that we micromanage, we microanalyze. Don't look for information you don't have and not going to have. Say this is what I feel is right. I'm not an idiot. I know the business, I know my choices are right. I sometimes book. I get asked to audition again. Do them, and I'm not going to say forget about it, because that's not always how brains work.    23:03 - Anne (Host) Try to forget about it. Yeah, exactly, don't let it mentally hassle with your yeah yeah, don't schedule an extra therapy session for it or anything. Yeah, exactly.    23:12 - Andy (Host) Yeah, I mean it'll be in your head and it's fine, but know that your audition is out there working for you. Just be you. Make simple choices, things you know you can do, things you feel are right and do them.    23:24 - Anne (Host) Now here's a question which I know is on a lot of people that are just getting into the industry, or students that are just getting into the industry. It's about the lack of. They're like the words are on the page and they don't make sense to the student, because they're talking about some visual that's probably already been done or it's in the process, or the person that wrote the copy knew what visuals were going to be along with it. But yet here's the copy, but yet no storyboard. There's no other information except for maybe like casting specs about oh, we want female age, blah, blah, blah, blah. And so then they're like well, how do I interpret this? How do I even because I'll okay, who are you? Who are you talking to? You know, create that scene. And when I'm just like well, look, as long as you're committed right, you're committed to those words and they make sense, you can make up whatever scene you want that allows you to be authentic and genuine with it.    24:15 And sometimes I'm very surprised at stuff that I've done. When I look at what comes out afterwards, I'm like whoa, okay, I didn't expect that. So why is that? Are we a step in the process where we don't get fed more information, like is there a reason why there's not more storyboards or there's not more you know what I mean information given at the time of the audition, or just curious?    24:36 - Andy (Host) I never asked anybody this and I will say this. It sometimes is as frustrating for me. I would love for the actor to have everything the actor needs, but sometimes you can't. Sometimes projects are secretive. Sometimes there actually is a storyboard. I'm just not allowed to tell you. Sometimes there's information about what show it is or what the product is. I remember when Apple first started advertising the iPhones and we were casting in person because it was a long time ago and we weren't even allowed to put iPhone on the door. We weren't even allowed. It would be secret product, you know, and people would be like oh, a phone that does stuff.    25:17 - Anne (Host) But we weren't allowed to say it.    25:19 - Andy (Host) So there'd be like on the door it would say like jet plane or freezer burn or just some random word, so you would know where you should go. I worked on a show recently where there were these athletes going to this really important game and one of them is looking out the window and it's starting to rain and he's nervous and he's like, wow, it's raining out there. And the coach looks at him and goes, yeah, but it's raining for the other team too. Whatever information you don't have, neither does anybody else.    25:54 Whatever problems you have, everybody else it's raining for the other team too Sure.    25:59 - Anne (Host) Sure, I love that. It's so nice for you to validate that you know, what.    26:03 - Speaker 2 (Announcement) I mean.    26:03 - Anne (Host) Because I think a lot of times people are like but why, how? Come I don't know anymore. Why can't?    26:07 - Speaker 2 (Announcement) I.    26:08 - Anne (Host) I said it's very rare in any of my jobs in all these years that I've ever gotten a storyboard. I mean after. I get it maybe I'll get a storyboard. There'll be times I'll get storyboards with a commercial audition, but I think it's gotten less over the years. Yeah.    26:23 - Andy (Host) You get what people feel you need, and they're not always right.    26:26 - Anne (Host) And a lot of times they change again. Yeah.    26:30 - Andy (Host) And it's very much. You get what you get. You don't get upset, but you will always have everything you need to do your job. You may not feel it, it may not be as much as you want, but it is enough to get you to a place where you can come up with specifics. Even if you make them up, you can come up with a.    26:50 - Anne (Host) I'm happy, I'm sad. I'm a wise ass.    26:53 - Andy (Host) This business. We do everything we can to give you everything you need to do your job and only be as specific as you can. Don't go to a place where you're making up a whole scenario so you can feel more complete as a performer that I'm not going to get. Does that make sense?    27:12 - Anne (Host) Yeah.    27:13 - Andy (Host) Know that when we send this out, we are ready to fill in these blanks in the job Right.    27:19 - Anne (Host) And usually, if I'm not mistaken, the voiceover is probably one of the tail end of the things to be filling in, or no Is? That not a correct Like. Usually the media is finished, the things have been written. Usually there's visuals somewhere along the line that have been made and then the last thing to be cast is a voice, but maybe not when we're talking on camera. I mean, that could be. That's a different part of the process.    27:40 - Andy (Host) Yeah, well, I mean, I would say probably, I mean anytime there's an actor involved. A lot of work has been done before. Yeah, before we even start talking to actors, and a lot of work's going to be done after the actors are gone. So, yeah, on camera, yeah, of course you're on set for a little bit longer probably than voiceover, but, yeah, often things are in place and we do our best to ask is that what you're saying? Yeah, yeah, absolutely yeah, yeah, but there's a lot that happens before anybody asked me to do anything.    28:12 - Anne (Host) There's a lot that happens before the mixer's involved or anything yeah, yeah, I think it's good to know that we're only one tiny piece of like an entire project and sometimes, I think, in our own little worlds. We tend to forget that in our booths right. We're like oh the voiceover is like front and center and in reality there's so many other components to probably creating this project or commercial or movie or whatever it is.    28:38 There's so many other parts and we get so wrapped up in just our part of it that I think we have to realize that we're just a cog in the wheel so to speak, it's an important cog I mean, the machine won't work without it. Exactly.    28:50 - Andy (Host) But we do mesh. It's a great analogy, metaphor simile, simile, it's a great simile. Yeah, right, I thought I was an English teacher. There you go, simile, there you go. Oh, I love it. I love it, it's a great, yeah, simile.    29:10 Yeah, because, like I said, we're all worker bees yes, yeah, I know that we have a lot of the same issues too. There's stuff I can't know, there are things I'm not allowed to be a part of, and there's a lot of processes. So, yeah, just do your job. Don't worry about what we want or what somebody else is looking for or somebody else is hiding. We're not, we're not hiding anything. We just need you to be you, to know what that cog is.    29:26 And again, I have anxiety attacks when I get a job, sometimes because there's just so much stuff I haven't gotten to sit down with it yet. I haven't seen a script, I don't have a cast. Sometimes I don't have all the episodes of a show or all the spots in the commercial campaign. There's a lot I don't know either. And I understand it can be isolating. It could feel lonely, you know, when you're alone in your booth it could feel like everybody's working more than you, everybody's auditioning more than you, everybody in the industry does have that. It's been a few weeks. Am I ever going to work again?    30:02 - Anne (Host) Do I belong in this industry? It just becomes very dramatic sometimes.    30:06 - Andy (Host) I state something. I offered a potato chip. Did that offend somebody? And we spiral out. Every single person involved does it. Oh, nice to know, I'm not alone, right, I mean, because even after all these, years.    30:20 - Anne (Host) Sometimes it's so hard not to get those thoughts in the way. I swear that, like everything that we do, sometimes it's so hard not to get those thoughts in the way I swear that, like everything that we do, is sometimes it's not a God given talent.    30:28 Well it is, but it's the most important thing, is our mental state about it all, because it can affect so much I mean the fact is is that we can just like let those feelings and ideas spin around in our head and be like oh my God, did I do something to offend? Am I good enough? Am I? You know all that talk in your head is the stuff that I think is probably some of the most dangerous talk and things that you could have as a voice actor.    30:52 - Andy (Host) Yeah, it's. It's like Schrodinger's audition the audition is simultaneously good, bad and not submitted. There you go.    31:02 - Anne (Host) I love it. Oh my goodness. So then I would say, with the thousands of commercials that you have directed or produced, what? Would you say, is the cast that you've cast? What's the best thing a talent can do? In hopes of maybe getting cast. And what's the worst thing that you've seen a talent do that wouldn't get them cast?    31:22 - Andy (Host) Yeah, I don't know that I'm going to say the worst thing.    31:24 - Anne (Host) Or yeah, maybe not a smart thing. So yeah, that kind of tends to be pretty specific to a person.    31:30 - Andy (Host) And if it's the worst thing I've seen, it means probably only one person did it and so I'm not going to tell, I would say, the most probably impractical thing that.    31:39 I've seen people do is be like, okay, I'm going to be the person who is going to get the job. I'm going to try to fool you into thinking that I'm the person you're really going to hire, and so I'll get a read and somebody's clearly doing this and it's like well, I know it's a car commercial, but I didn't ask for that and that person is available and they work for what you work for.    32:04 If I reached out to you, I don't want an impression of that person or people that change their voice into a better version of you know, it's like if I called somebody because they have a certain depth to their voice.    32:19 - Anne (Host) This is my voiceover voice, right, yeah?    32:21 - Andy (Host) And if I haven't asked you to do that and I might I mean there are things but if I haven't asked you to do that, don't do that. It may even turn into that at the end of the day.    32:32 - Anne (Host) Isn't that the truth, right? It may turn into that at the end. That's what. I end up getting is people be like. But I listened to the commercial and it sounds just like this and I'm like but that doesn't mean that that performance got you the job.    32:43 - Andy (Host) Yeah, I've had people come up to me. Andy, I heard that spot, I could have done that. Why didn't you ask me to do that? And I'm like is it your first day in the business, have you never? It's like nobody did that. The person who booked it didn't do that and the client liked the director is directing and they call the client and the client's like can we hit this word a little bit more? And I feel like we're not pushing.    33:07 - Anne (Host) Yeah, and I always say that the person who's actually making decisions like it depends on, like what they hear in their head, right. And maybe they're a 65 year old person that's been listening to announcery commercials all their lives and that's what they hear in their head. And that's what ends up getting directed, or whatever it is. I think our voices become a product of the years and years that we've had and your musical, I know this right Of hearing things right.    33:31 And so that's why when we go in and we say this is what we think you want to hear, because we're mimicking over a period of years that's why in our head there's a certain melody Also. I think there's a certain melody also. I think there's a scientific and tell me and if you think I'm right, I think there's a scientific like reason why people, when they read words, they read them in a melody. That's very expected, because I can tell you exactly like.    33:52 Here's a paragraph, I can mimic exactly what you're going to do. If you're not thinking about like acting and you're just thinking about reading along a melody, I know that melody already and it's funny because I'm right like 99.9% of the time with that melody. And what is that? That's a scientific study that you read words in a certain melody.    34:11 - Andy (Host) Well, I'm not a neuroscientist, Damn it Andy, why? Not, you're everything else. That was my fallback, that was plan B, just in case yeah, I mean you've got that medical background. But the brain doesn't think in words, the brain doesn't think in images. The brain thinks in little synaptic flashes, billions and billions and billions of them. You're sounding like a scientist, thank you.    34:36 Thank you very much For anybody who's like questioned me on that, which, fine, by all means question. My answer is what's the word that keeps you balanced? What's the word that keeps your heart beating? What's the? Your brain doesn't need words. Your brain just does little flashy things like a microchip. Your brain's basically a macrochip, holds, I think, about 10 terabytes of information and it processes it certain ways. So when you look at a word, it doesn't actually see a word, it sees an image that sparks a whole sequence of synaptic flashes. The people that organized those words in the form of a script or a book or whatever learned the language. The way you learned the language. They learned it by hearing it. And even if it's your second language, yeah, okay, maybe there's some schooling, but at the end of the day, you're really learning it conversationally, by hearing people do it. So your brain doesn't just process. Okay, this is this sequence of words with a dot or a line at the end of it, or a squiggle or something.    35:36 It actually processes the whole thing as a rhythm. The rhythm that was born into it will probably be the rhythm that comes out. And yeah, is it 100%? No, sometimes there's typos, sometimes things are weird, but it's also why, like, there's this thing online where there's a whole paragraph and every word has first, last and middle letter in the right place, but the rest of the words are just jumbled.    36:03 - Anne (Host) Oh yeah, and we know what that.    36:04 - Andy (Host) yeah, I've seen those and you can still read them, you can still get the rhythm, you can still do all that. So acting is a physics term is one of the things I say in my class. Acting is doing something that has an effect on a receiver. You say something, it affects somebody else. It hits a series of triggers. A script is the same thing. A script is a series of things that will trigger you in most cases, which?    36:30 is why somebody leaves a word out of a line. You often may not even notice that word's not there. Your brain's just going to put it in. So, yeah, exactly like you said, you're going to be right most of the time, because it is how your brain now thinks. And sometimes you won't be. But those are flukes. Those are rare. They do happen. They're. Certainly those will be the ones that we look at and focus on, because they're messed up and we'll use them to define ourselves. Oh, I'm terrible. How could I have made that mistake? But the truth is, usually things go right, and so trust yourself. It's why one of the four disagreements if you want to get it right, don't worry about getting it right.    37:11 Yeah, don't worry about getting it right, absolutely yeah, read it listen to it and, to be honest, if it's terrible, throw it away. Nobody's going to hear it.    37:18 - Anne (Host) Right, it's so funny. I remember when I was teaching in front of the class and I would get so excited. Sometimes, like my brain, I'd be like, oh, and I want to tell them about this, and then what would come out of my mouth sometimes didn't follow, because I was so excited, but the funny thing is is that I never once had a classroom that didn't forgive me for that, do you?    37:35 - Speaker 2 (Announcement) know what I mean?    37:36 - Anne (Host) Yeah, yeah, because I was so intent on sharing, and excited and passionate that they forgave the mistakes I made, and I truly believe that that's how you need to approach your copy, because it's more about how you're making me feel really. And, like you said, it's a series of synapses or reactions or the words are there to trigger something and so the acting is reacting, kind of thing.    37:59 And so that really needs to be built into all of your auditions, all of your performances in some form or fashion. And yeah, worrying about making it perfect is spending too much time worrying about making it perfect and not enough time worrying about how are you going to make someone feel or how are you going to engage with them and tell that story.    38:17 - Andy (Host) Yeah, it's not your job to not have a problem. It's your job to have a problem in a way that nobody else thinks it's going to become their problem. It's your ability to deal with it. Yeah, exactly, we worry about so much One of the things that I tell you have to do a do you can't, do a don't. I'm going to be happy. That's a do you can do that, I'm going to talk fast.    38:39 That's a do. I'm going to talk slow. I'm going to talk with an accent. I'm going to be really big or I'm going to be really small, I'm going to whisper Any of these things. These are things you can do. You can't do a don't. I don't want to be wrong is not a choice. I don't want to mess it up is not a choice. I'm trying to not be too fast, or I'm trying to not.    38:59 Those are not choices, those are don'ts. I would rather have you be too fast and ask you to slow down which is an inevitability of our relationship as director and actor anyway than have somebody who's delivering at the perfect pace but the copy is sounding like this and there's no humAnness to it. Cool, we learn more from our successes than our mistakes. HumAnness to it. Cool, we learn more from our successes than our mistakes. Everything you're good at, you've gotten good at by doing it right over, over, over, over over and sometimes messing it up, but being able to fix it because your brain knows what the right is. So whoever's listening to it or interacting with you in an audition is going okay. When they stumble, it's not going to be a big deal.    39:44 - Anne (Host) Yeah, exactly, we'll move on yeah.    39:45 - Andy (Host) Yeah, nobody cares.    39:46 - Anne (Host) I want the intent.    39:47 - Andy (Host) Yeah, nobody cares if you screw up, I mean, and the reality of it is is.    39:50 - Anne (Host) I mean unless you're being live directed right. I mean we're all human. Everybody understands that. If you're not and you're doing it later on, I mean good Lord, we can just edit it.    40:01 - Speaker 2 (Announcement) I mean, so if you stumble on a word.    40:03 - Anne (Host) I mean, we all do it. I'd love to speak perfectly 100% of the time, but I certainly don't. And so, yeah, we all make mistakes and so it's just you fix it. And so when I'm having somebody read for me live, I don't care if they stumble, I want their acting, I want to hear their acting. And if they stumble, it's okay because inevitably they're going to get it right. If I'm paying them $10,000 for the job, I mean they're going to go do it until they get it right.    40:25 And so if you're going to stumble in front of me, that's fine. I just want to feel you and hear you.    40:30 - Andy (Host) Yeah, just don't have a meltdown in front of me about it, don't beat yourself up, don't apologize. I want to be a director. I don't want to be a therapist.    40:39 - Anne (Host) You probably are for most of the time.    40:41 - Andy (Host) I don't want to. I don't want to do that. Yeah, I mean like people can go bleh, you know, and do a pickup. I don't mind a blip, that's huge. But I've seen people really like beat themselves up and feel like they're less than or feel like they're stupid I mess up words that I'm making up.    41:00 - Anne (Host) I mess up words when I talk in everyday conversation.    41:03 - Andy (Host) Yeah, yeah, and I don't even have a script, I'm just making that up. Yeah, exactly.    41:07 - Anne (Host) That's brain to mouth.    41:09 - Andy (Host) Oh, I screwed that up, yeah there's a lot that happens between synapse and noise and there can be a problem at any step of that process, so worry less about that, bosses. Yeah, worry less. There's a phrase that I hate practice makes perfect.    41:26 - Anne (Host) I mean, I don't know, if you say it, I'm sorry if you do, I probably. No, I don't okay. Good, I mean because it's never happened.    41:30 - Andy (Host) I mean, how long does something have to not happen before we stop acting like it's going to? The purpose of practice isn't to become some theoretical idea. The purpose of practice is to make you comfortable with the inevitability of your imperfection.    41:48 - Anne (Host) Yeah, I like that.    41:49 - Andy (Host) Yeah, you'll be reading a sarcastic role, or a happy role or an angry role. You'll be selling hamburgers or beer or a car. Scripts will change, attitudes will change, voices may change, but messing up a word and dealing with it doesn't. Yeah, yeah, you know that's the same. A typo, that doesn't change you. Getting mush mouth or dry mouth, that doesn't change. So the purpose of practice to get you comfortable with the fairly limited number of ways you're going to have a problem yeah, yeah, yeah yeah so that it's not a big deal.    42:23 I like that.    42:24 - Anne (Host) I'm always saying if there's a mistake in the script, and especially well, for me it makes sense because typically long-format narration scripts go through rounds and rounds of approvals, through like corporate hands and even like your stuff, I'm quite sure, goes through many hands of approval and so like, if you're going to be that actor that's going to point out a mistake in a script, no, don't be that actor.    42:44 Be the actor that reads it exactly the way it is but makes it sound like there's no mistake you know what I mean, that's your job is to make it sound beautiful, like, even if a word's missing or I mean if it's really really obvious then you just graciously. Hey, here's an alternate take, just. But don't ever like point out the mistake. Goodness gracious, no, nobody wants to be that person.    43:03 - Andy (Host) And if you have an opportunity to ask say is there a missing word? Sure, by all means, but sometimes you just don't have that opportunity. Sometimes you don't have an answer it's raining for the other team too.    43:14 - Anne (Host) Yeah, I love that. It's like that's such a great takeaway. That's such a great takeaway, that and just not worrying right and not worrying about being perfect, and I think that that has just been a wonderful takeaway and I feel like we need to have part one, two and three of this interview.    43:30 I would love that it's so wonderful. Thank you so much for chatting with me today and imparting those words of wisdom. Are you available, Like if people want to find out more about you? I mean, do you have a website? I mean, is it one of those things that people can reach out to you?    43:47 - Andy (Host) I do have a website. I have Andyrothcasting.com.    43:51 - Anne (Host) Okay.    43:52 - Andy (Host) Yeah, that is my website. I can't really always talk about things I'm working on, Of course. I mean almost everything is NDA, but things I've done are there. If I do have a class coming up or something, it's listed there.    44:03 - Anne (Host) And speaking of though, we do have a class coming up. I'm going to have you for my VO Peeps guest director guys. So boss is coming up.    44:11 Make sure you sign up, and I will say that when I met you at Mavo, you were doing a couple of classes and people were just raving about you and so, and they were really like taking a lot away from your classes. So I can't wait, I can't wait for you to be and you're going to be in. What did we decide? It was, oh my gosh, it's like May, may, march.    44:34 - Andy (Host) April, april or April or May, I don't know.    44:36 - Anne (Host) Peeps check the calendar because he's going to be here and Andy Roth, make sure you sign up, and I'm so excited for that.    44:44 - Andy (Host) Me too, me too. I'm really excited, and every opportunity to hang out and talk with you. Yay, I will take every one of those opportunities, awesome.    44:52 - Anne (Host) Well, hey, I can't wait to do this again. Thank you so much, thank you For being with me today, and a big shout out to my sponsor, ipdtl. You too, can connect and network like bosses. Find out more at IPDTLcom. Bosses, you have an amazing week. I just sounded Jersey. I think it's because I'm talking to you, Andy. I said bosses, have an amazing week and we'll see you next week. Bye, guys.    45:16 - Speaker 2 (Announcement) Join us next week for another edition of VO Boss with your host, Anne Ganguza, and take your business to the next level. Sign up for our mailing list at vobosscom and receive exclusive content, industry revolutionizing tips and strategies and new ways to rock your business like a boss. Redistribution with permission. Coast-to-coast connectivity via IPDTL. 

Mike and Elliott utilise yet another week of no news to effectively make their own news about who the new Tigers figurehead is likely to be, but we deduce that an announcement cannot now be far away. We also look ahead to a daunting trip to Ashton Gate and try to figure out a way to stop that incredible Bristol attack, which is hard enough to articulate, let alone to do.

Transform your wild game, game! The Fowl Life Midwest Host Joel Kleefisch and Provider award-winning Chef, French Culinarian, Ellie Lawton break down why sauces can be bosses for your wild game feast or fiesta! Joel and Chef Ellie show you quick, easy steps to turn any meal up a click. Learn how to Finish What You Started with our ongoing short format series the Fowl Life Podcast, Provider Series, Eat Wild edition! This episode is brought to you by The Provider Culinary, Travel Wisconsin, Oakley Sunglasses and Banded Brands

Death Stranding 2 will feature "skippable" bosses allowing you to substitute a tough battle for a story sequence instead. This is great news! I'll talk about it & more!JOIN THE DISCORD and talk PlayStation with the PSD+ community:https://discord.gg/pEDZDp4kTGFOLLOW ME ON TWITCH and watch me record the show LIVE:https://www.twitch.tv/psdailypod/FOLLOW ME ON BLUESKY at psdailypod:https://bsky.app/profile/psdailypod.bsky.socialFOLLOW ME ON TIKTOK at ps.daily.pod:https://www.tiktok.com/@ps.daily.podIntro and Outro music is "The Concord Crew" by Daniel Pemberton from the Concord soundtrack.

In today's episode, I sit down with Ray Hespen, CEO and co-founder of Property Meld, a fast-growing software company transforming how property maintenance is managed. With roots in manufacturing and a mindset shaped by lean margins and tough bosses, Ray shares how he built a platform that now serves over 730,000 rental units. We talk about conviction, leadership, and the uncomfortable truths of entrepreneurship. Ray opens up about the moments he nearly walked away and what kept him going. His journey is built on clarity, pressure, and a relentless push to create something better in one of the most essential industries in America.

PJ hears what's going on from Damien McCarthy of HR Buddy Hosted on Acast. See acast.com/privacy for more information.

Bosses should stop calling so many meetings that waste their staff's time, so says Frank Coughlan, Irish Independent columnist. Frank explained why to Newstalk Breakfast this morning.

Bosses should stop calling so many meetings that waste their staff's time, so says Frank Coughlan, Irish Independent columnist. Frank explained why to Newstalk Breakfast this morning.

BOSSes Anne Ganguzza and Danielle Famble discuss the critical role of marketing in the voice acting industry. They explore various marketing strategies, including the importance of having a professional website, effective SEO practices, and the role of direct marketing. Learn about the impact of high-quality demos, the significance of direct marketing, and the potential returns when executed correctly. They touch on direct marketing services like VO Boss Blast, emphasizing targeted marketing without the spammy aftertaste. The BOSSes further explore the roles of online casting platforms, agent representation, and direct marketing, emphasizing the importance of diversifying marketing efforts and understanding the financial commitments involved. 00:01 - Rick MacIvor (Ad) Hi, this is Rick MacIvor with the VO Video Village YouTube channel. You know, when I started doing voiceover, I listened to the VO Boss podcast religiously. It was my go-to source of information about the industry and I still listen to it to this day. Every week there's an amazing new guest and Anne is able to really get some great information. I just love it. So thank you so much, Anne, looking forward to next week's episode.  00:33 - Anne Ganguzza (Host) Hey, amazing voiceover talents. Do you ever wish boss marketing was as fun as it was being behind the mic? Well, check out my VO Boss Blast. It's designed to automate and make your marketing simpler. You'll benefit from your very own target marketed list, tailored to meet your goals and your brand the VO Boss Blast. Find out more at voboss dot com.  01:00 - Intro (Announcement) It's time to take your business to the next level, the boss level. These are the premier business owner strategies and successes being utilized by the industry's top talent today. Rock your business like a boss a VO boss. Now let's welcome your host, Anne Ganguzza.  01:19 - Anne Ganguzza (Host) Hey, hey everyone, Welcome to the VO Boss Podcast and the Boss Money Talk Series. Hey everyone, Welcome to the VO Boss Podcast and the Boss Money Talk Series.  01:28 I'm your host, Anne Ganguzza, and I am ecstatic to be here once again with the one and only lovely Danielle Fanbel. Hey, anne, so good to see you. Thank you for having me back on the podcast.  01:37 Awesome. Oh my God, it's such a pleasure talking money with you.  01:41 - Danielle Famble (Guest) Oh, I love it, I love it.  01:43 - Anne Ganguzza (Host) I love money. I love money. I still have that segment when we talked about say it along with us bosses.  01:48 - Danielle Famble (Guest) I love money.  01:51 - Anne Ganguzza (Host) So, speaking of money, we've talked a lot about investing money and receiving money and saving money, saving money, but one thing that we haven't really delved into so deeply is investing in money in the market, right? Because, in reality, we can't make money if we don't have a market to sell to, and we really need to be able to get in front of people in order to say hey, I'm here, I have a product and you are absolutely able to buy. Yeah, marketing your services, yeah are absolutely able to buy.  02:23 - Danielle Famble (Guest) Yeah, marketing your services.  02:24 - Anne Ganguzza (Host) Yeah, marketing your services. So, yes, it is absolutely related to financials, because you need to invest in marketing yourself money and time, and so I thought it'd be a good time to talk about the different types of marketing that are out there, like how is it that voice actors acquire jobs? I think there's four. Is it that?  02:46 - Danielle Famble (Guest) voice actors acquire jobs, I think there's four, four ways, right, Danielle? Yeah.  02:52 - Anne Ganguzza (Host) There's direct marketing. We'll go over all of these as we go through the podcast. So there's direct marketing there's pay to plays Sure, yeah, there's agents Okay.  02:59 - Danielle Famble (Guest) Yeah.  02:59 - Anne Ganguzza (Host) And there's one of my favorites, which actually just happened. The other day I got a direct inquiry on my website from someone that was looking to hire a voice my voice because they'd come to my website and they listened to my demos and they asked me what would it cost to do such and such, and so that would be your website slash SEO, which one of my favorite types, because I really didn't have to work hard.  03:23 I had to work hard to get the SEO, so that I could be found, but it's nice when people find me because they've already listened to me, and so that is what I consider a warm lead.  03:33 - Danielle Famble (Guest) Mm-hmm. Yeah, and it's actually one that you have so much more control over as well, because you can choose what you put on your website. You can choose how much SEO marketing that you do, how much money you put into your SEO marketing, and then, when it's out there, people find you and they know a lot about you because you've already put a lot of time and energy into cultivating and curating what they see when they come to your website.  03:58 - Anne Ganguzza (Host) So, yeah, I mean, since we're already on the topic, right, let's delve deeper into that.  04:02 Because when I ask people like, what do they have money to spend on, I mean it's almost like a last ditch effort.  04:07 I feel like that voice actors say, oh well, I've got to get a website up, but I don't think they understand the importance of having that online storefront because, honestly, that works for you 24 seven. If you have people finding you on your website, that is your marketing investment that is available day in, day out, 24 hours a day, and the cool thing about it is is that you can showcase your product with a good demo. By the way, when you showcase that product and they listen to that demo and then they inquire and you make it easy for them to inquire about your product, then I say that you haven't had to audition. You know it's a warm lead and that lead is usually quite effective because then, once they inquire, you can ask for more information and then start a negotiation process which, again, is absolutely under your control, and it's probably, I would say, one of the easier. Once you've got your website up and running and you've done the work to get good SEO, it's one of the easiest ways to acquire work and to get paid.  05:08 - Danielle Famble (Guest) Oh yeah, and it comes directly to you. So you're not there's no friction of having to speak to your agent or your representation or going through a portal on like pay-to-play sites. I mean, it really is just direct and you can really cultivate how that relationship how you want to. You can ask them if they want to do directed sessions with you so they can see your process a little bit more in depth. You control, like, how quickly you are or are not responding the negotiation process huge. But, yeah, having them be able to find you and typically that is finding you via, like a Google search or that's finding you through social media, if you've done any social media touches as well. They could even find you on certain websites that you are on, for example, like a pay-to-play website.  05:53 But then you have your demos. You also have your email address, your website, so there are different ways that you can sprinkle around the essence of who you are and your digital storefront, hang your shingle out there and you can point it back by using SEO. You can guest blog, you can be on podcasts, you can do so many other things that bring awareness to who you are. That points a potential client to you, to your website, and then, when it's there, then they can take a look and see everything that you've curated for them to see about you and possibly working with you.  06:26 - Anne Ganguzza (Host) Absolutely. And so think about it, guys, when you shop online, right. So these are important things to know right about your website. When you shop online, what is it that you're looking for? Or when do you shop online? Right, you shop online when you have a need, right, and so, typically, people that are searching at the Google prompt or they see something that you might have curated on social media, they've been sparked because they have a need, and this is the very essence of marketing, right, because you need to contact those people. They need to be ready, right, or they need to be preparing to be ready, or they need to be researching the buy, and you are there in front of them, and that is probably half the battle, if not the majority of the battle is to get there in front of them, and then, when they have the need, they're going to buy.  07:13 So I'm always talking about well, I shop for fashion, for lipstick, and when I have a need, I will go to the Google prompt or I will go to a website that I know, right, a brand that I know and I trust and I've purchased from before. So that's always a good reason to have a website, right, people who you've worked with before they'll go to your website again. They might be showing your voice to somebody else. They might just be coming to contact you again to get your email address, but having people come to you is, I think, the majority of the work, and so make sure that your website is easy to navigate, make sure that you have your product displayed promptly and like right up at the top so that they can hear your voice, and also all of your contact information so that they can get in touch with you.  08:02 - Danielle Famble (Guest) They know how to find you.  08:03 - Anne Ganguzza (Host) Yeah, and you don't have to do the audition. That's what I say. You don't have to be like it's 24-7, because a lot of times the other types of marketing we're going to talk about is your pay-to-plays or your auditions, because you have to do a little bit of work first and then you get cast, but with your website it sits there, available and it works for you, and so make sure your SEO, which is your search engine optimization, is up to snuff on there. And it used to be that people paid for SEO. I don't know, do people pay for SEO much anymore?  08:33 - Danielle Famble (Guest) It became almost like a scam at one point.  08:36 I do. I actually pay for SEO. I've paid some people to help me navigating, like acquiring backlinks and making sure that anything that is out there on my website or pointing to my website is something that Google likes and can help someone find me. If there are certain keywords that I want to be found for, if someone's searching in Google, I want to be able to make sure that I rank high for those. So it is definitely something that you can definitely invest money into and I would say, probably hire someone who knows how to do that, and that is a wise use of your investment. If that's what you choose to do, you can absolutely do that, and you can also just take care of what is on your website.  09:18 So make sure that your brand is exactly what you want people to see, and you need to reverse engineer it. Think like a buyer. Think like if I'm looking for a voice actor who sounds like this particular type of brand. Make sure that you've showcased that that's what you do and showcase it in a way that is easy to digest and that people can take it for what they need. For example, make sure your demos are downloadable. If they need to like, take off demos off of your website. If they know how to reach out to you, make sure your email address is on it, not just a contact form. Make it so that if you were a person who was looking for you, they would know how to find you just on your website.  10:02 - Anne Ganguzza (Host) And make it quick.  10:03 - Danielle Famble (Guest) And make it quick Make it quick and painless.  10:05 - Anne Ganguzza (Host) Quick and painless right. You don't want to make it hard on your potential clients, so we could probably have an entire episode and I know I have had previous episodes on websites and how important they are, but in terms of the marketing of you, they're critical. So don't leave that to be like the last thing that you do or the thing that you don't want to invest your money in. Because I'll tell you what, for me, when I shop, a website literally is the clincher for me, because I want to make sure that that website looks professional, that it looks trustworthy and it has the things that I want on it, that I can see I can get the information quickly, because I don't have a lot of attention span and I don't have a lot of time, right.  10:46 - Danielle Famble (Guest) And it's not a set it and forget it kind of thing too. It's something that needs maintenance, which also requires money and time, because certain plugins need to be updated, your hosting needs to be updated, and maybe you even need to refresh what's on your website. Maybe it's that your demos get updated, or any videos or social proof of what you've done needs to be updated as well. So this is not a set it and forget it. This is something that requires maintenance, and that maintenance does require time and money investments Exactly.  11:16 - Anne Ganguzza (Host) Now let's talk about, like I said, we could go on forever about this, but let's talk now about the second method, and these are in no particular order. I'm just having to be thinking of pay-to-plays and online rosters, right, yeah, and there's lots of different places out there that can help you to write a great profile. If you are unfamiliar or you're scared about writing about yourself. Lots of places out there that have helpful hints on how to write a good profile and also have your products ready to upload or be on display, right. So have those demos and make sure those demos are. You know, again, that's your product, so make sure those demos are good demos, or those samples are good samples, and that they make you shine. Okay, not just like oh, I created a sample, let me upload it, because, again, you're going up now against other people At this point.  12:08 You're on a website that has other people that have products as well that are displaying, so you want your product to be the best product, right? You want your product to look the best, you want your product to sound the best. It's all in like the display, like if I'm working in retail and in clothing and if you walk into a store and it's just real pretty and it's got a good feng shui about it, then you're like, oh, I'm more apt to buy. So if you've got a demo and it just kicks butt, I mean, people, I think, are going to be impressed by that. And there's so many differing opinions on like, do you need a demo these days? Well, I think you need something that absolutely exemplifies and showcases your voice, and it's very best. And so a lot of times when you're beginning and you're just starting out, you don't know what you don't know and you don't have an ear for it.  12:52 So that's when you trust a good coach demo producer. But the pay-to-plays are an investment, right? Your demos, your product is an investment. Your online casting, well, pay-to-plays for sure are an investment, because there's typically a membership involved in that and online rosters can be an investment. It can absolutely be an investment of your time, maybe, I don't know. I don't know any online rosters, though, except pay-to-plays, that ask you to pay a membership fee. Do you?  13:19 - Danielle Famble (Guest) Danielle Right? No, I don't really know of any online rosters that ask you to pay a membership fee. That sounds to me more like a pay-to-play. But the idea of making sure that your marketing everything that you're offering on your portion of the pay-to-play is professional and showcases what you do well is really important, because you are, if you think about it, like being in a grocery store and you're in like the ketchup aisle. There are several different brands of ketchup.  13:45 - Anne Ganguzza (Host) There are so many ketchups, yeah.  13:46 - Danielle Famble (Guest) So what are you choosing and why? So you really want to make sure that, like your portion of the digital landscape that you're taking up on, that pay-to-play represents who you are and the branding of it, like ketchup label, for example really showcases what it is that you do and what you do well, and again, how people can contact you. If it's through that pay to play, cool. If it is to your website, then that's sort of a second link to making sure that there's consistency.  14:13 - Anne Ganguzza (Host) Yeah, now, in terms of marketing, right, what's important in the marketing of that, right? So, on your website, it was important that you had SEO, so people knew where to go, right, they know how to get to your place, they get to your online storefront, and that's done through the actual verbiage that you have on your website as well as, let's say, social media and emails that drive people to your website. Now, with online casting and pay-to-plays, right, online casting and pay-to-plays, they're doing a lot of the marketing for you as well, because their SEO already includes a lot of voice actors. So, when people are searching for that voice actor or corporate narration voice or whatever they're searching for, because they have a series or a bunch of voice actors on there, their SEO is already working in their favor. Plus, they're probably doing their own marketing because they want to get clients in.  15:01 I mean, that's like one of the roles of an online pay-to-play is to get clients in because they have a need, right. So at this point they have a need and now they go to the pay-to-play or the online roster and now they have to choose right, and again, like you said, just like in the ketchup aisle, you want to make sure your ketchup is the best and your ketchup stands out and that your brand is really represented well. And so the marketing investment there is your investment in that membership, as well as the investment of, let's say, your product right to have a great product so that it stands out, and the way that you're writing that description right, and the things that you can control on the pay-to-play or the online roster.  15:39 - Danielle Famble (Guest) Yeah, and recognize that you are in that particular marketing instance. You are attaching your business on the back of another business, exactly so making sure that you agree with how that business is running. Maybe you don't choose a particular pay to play because you don't agree, but know that you are attaching your business to another business, so that business's success is also your success. But you need to make sure that it's not the only way that people can find you, which is why, like this four-prong approach I think is really smart, just making sure to diversify.  16:13 - Anne Ganguzza (Host) Yeah, absolutely, you're right, don't put all your eggs in one basket, right? I've seen that around. You know you want to make sure you don't put all of your time and all your investment in just a pay-to-play, because there's lots of different ways to acquire work, and so that was the second way, and again, we could have a whole podcast episode just on pay-to-plays, which we might do. But our third one that we're talking about is agent representation, maybe management right and management right. And so in that marketing instance, right, the agents have a relationship right, or the managers have a relationship with either other agents or with potential clients, and those clients depend on the agent or the manager mostly the agent right Because the choices to them by just searching at the Google prompt are overwhelming.  16:57 There's a lot of voice talent out there, and so they might have worked with an agent for many years and they trust that agent, and that agent is the one that probably gets them the short list right. They have dependable, qualified voice actors on their roster. They have an audition which they'll give to the agent. The agent will then distribute it to their roster and then at that point they'll get back those auditions and the agent will shortlist, for the most part the agent will shortlist and then send that shortlist to the client and that kind of keeps the client's decision-making process make it a little bit easier, not as overwhelming- yeah, it's a little bit more of a curated way to get what you're looking for and again, that's connecting that to another business.  17:43 - Danielle Famble (Guest) So as long as that agent or manager or whomever has these robust relationships with potential buyers, then you're riding along on that relationship. So it also then means with your marketing is making sure that your agent knows everything they need to know about you, and so it's managing that relationship with your agent and making sure they have what they need. They have your most updated demos, they have your most updated work. They know if you have conflicts and you can't audition for certain things. It's making sure that you have watered that relationship and you managed until the garden of that relationship, because it's not just with your demos or what you've done, it's also making sure that that interpersonal relationship is healthy.  18:28 - Anne Ganguzza (Host) Right, and so your financial investment with an agent or a manager right is usually going to be a percentage of the job that you get. So you're going to have to have number one to get a good agent, you probably need a really good demo. There's going to be the investment in getting a really good demo. Especially because agents and managers typically work in the broadcast part of the industry. You want to make sure that you have a tip-top demo because they're very busy people. Typically that's going to be like your demo is going to get you in the door. That in the recommendation probably.  19:01 So there's the investment in that. And then there's the financial responsibility. If you audition for the gig, it's going to be your time in auditioning right for your agents. And also, when you get the gig, it's going to be a percentage anywhere from 10 to 20 percent. And then managers typically are nurturing relationships between you and an agent, and then you're paying a manager as well a certain percentage. So there's your financial investment in that leg of the marketing.  19:28 And then finally, we have, after that, we've got the SEO. We talked about your investment, which was investment in your website, in your product, and then your negotiation skills, your pay to play or your online rosters, is your investment in the membership, in the investment in having a product that stands out and, again, having a great demo, having a way to make sure that your brand stands out for that. And then we just spoke about the agent manager. Right, your financial investment is going to be the percentage, it's going to be your demo and it's going to be your percentage that they're going to take once you get the gig. And what is our last one?  20:02 I've been cracking my brain like, oh God, what is the last one? We?  20:05 - Danielle Famble (Guest) have four. I was looking for the last one.  20:08 - Anne Ganguzza (Host) I was like I hope she pulls it out because I can't SEO pay to plays, SEO pay to plays managers, agents, oh, direct marketing.  20:15 Yes, absolutely so, and one of the reasons gosh, I should know that is direct marketing. I think is probably one of the most unpredictable and probably difficult, but can be really, really a great payback if you invest in it. So there's probably the most, I would say, unknown investment in direct marketing, because direct marketing is you contacting a potential client, and so how did you get those leads? It's either leads that you've curated yourself right Through mining the internet, linkedin, getting contacts at companies.  20:51 And yeah, and so you're reaching out to them directly, and so there's a whole issue of, okay, you got to be careful to not be spammy. So there's your time investment with that and you have to be careful that you're not spamming, because how many of us have gotten an email from somebody we didn't know that?  21:06 is peddling their services and we kind of get upset right and we say I didn't ask for this. So you have to be very careful, be spam compliant, which is why I created, by the way, the VO Boss Blast, and I don't want this to turn into a whole VO Boss Blast marketing effort by me. But I'll tell you why I created it. Because I didn't have a ton of time to do auditions right. I auditioned for my agents only. I didn't have time to be on a pay-to-play to audition 10, 20 times a day.  21:34 So I created a direct marketing product called the Boss Blast, which basically just gives me a list. I purchased a list that is curated by another entity and basically is continually updated. So that was not a cheap list. I don't sell the list to people, but what I do is I use a portion of that list and I market to that list for you.  21:56 Now, the one advantage of the direct marketing on that list, as opposed to just mining the internet and sending somebody an email saying, hey, I'm a voice artist and if you need my services I'm here and blah, blah, blah, which could be considered spam is that the people on this list have already agreed for the VO Boss domain to market to them.  22:14 So therefore I market for you on behalf of my domain and so they've already said it's okay to market. So I've got about 90,000 creatives on this list, and it's not that you couldn't buy that list either, but I spent thousands of dollars on the list, so I mean you can certainly make that investment yourself as well. The other thing that I invest in in order to send that email or to send out lots of email at one time, is investing in a mail service and I use ActiveCampaign, so I spend thousands of dollars on that as well. So in order to recoup those costs, I offer it to a small percentage of the voiceover community if they want to market and use a portion of that list. But the most important thing about direct marketing is understanding. So the investment is you're going to pay somebody to direct market for you or you're going to spend the time curating the leads and then that's not like something you can do overnight and you can't send to a thousand people at once.  23:06 However, you're investing your time in that, and typically in a marketing class too, because you want to make sure that you're not being spammy, and a lot of people need help marketing A direct marketing product like VioBoss it is a paid thing. We market for you. The one thing that you have to understand about direct marketing it's very effective. However, you have to understand that timing is everything on a direct marketing campaign, because I tell people like this I have a need for shorts when the summer comes around and I subscribe to the Old Navy list, I always use Old Navy. I don't know why, but I subscribe to many lists, but Old Navy sends me three to four emails a week. I've agreed to allow them to send me emails because I made sure I checked that box that they can send marketing emails, but I don't buy right, every time they send me an email, I do not buy. As a matter of fact, the only time I buy is when I have a need, right, do I have a need for shorts? Well, I've got 20 pair of shorts that I just bought this past season, so do I need another pair. I don't know. Maybe what will convince me that I need another pair is if I maybe figure out oh, but these are cute and they're the right, price, right or whatever it is. However, they've been packaged in that email to say, hey, either there's a sale and I'm not suggesting that voice actors create a sale, but I mean theoretically you could. I mean I have knowledge. I have knowledge that there's a new season, it's summer and these cute trending shorts are at Old Navy. I must have them right. So I have a need.  24:32 I click on the email right that says Old Navy's got new summer wear and I look at what's on that email and I have an interest and now I click right because I might want to consider buying. When I click and I go to that website, I want to make sure that website is trustworthy. I want to make sure. Well, old Navy, I already bought from them, so I trust them. But it could be a new brand. But when it's a new brand and I'm not familiar and I haven't purchased before, I make sure that that website looks legit, not familiar and I haven't purchased before. I make sure that that website looks legit and I do research to make sure that they're legit and then, if everything happens and the timing is right, I click to buy your voice acting product. Your voice is the same exact way. So I ask you, danielle, how many times does Old Navy need a voice to sell a product? Is it every day? It may not be every day.  25:21 - Danielle Famble (Guest) They might want to change their marketing once a season or every couple of years, you never know, but it's not daily.  25:29 - Anne Ganguzza (Host) It's not daily. So you have to understand when you're paying for direct marketing or your direct marketing on your own right. If you send one email to a thousand people on a list or no matter how that gets accomplished, you may not even get somebody. People might open the email but you may not get a purchase. So you cannot expect from direct marketing because it is such a timing related thing, you cannot expect that. Well, I paid someone to market for me and I sent out a thousand emails. I didn't even get anybody that wrote back to me. Well, do you write back to Old Navy when they don't? You know what I mean.  26:04 - Rick McIvor (Ad) Old Navy sends me emails three, four times a week Do.  26:07 - Anne Ganguzza (Host) I write back to them to say no, I have no need, I'm sorry. Or hey, do you have shorts? Like no, I just don't. I look at it, I open it. Maybe I go to the website and click. So just keep that in mind when you are direct marketing.  26:22 And, by the way, for my VO Boss Blast, we do go over who opens your email because we can track that, because I purchased these services. My ActiveCampaign server actually tracks who opens the email and it tracks who clicks on email. So if we put a click in an email saying go to your website, I'll know that they went to your website. Now do I know if they purchased? No, I don't. Only you know that, only you know if they've sent an inquiry. Once they've gotten to that website, which was the very first marketing method we talked about right, they've looked at your website and if you're unknown to them, they look at it. They see something and it sparks trust and they listen to your voice. It's accessible and they like it. So then they get to know you by seeing your brand, which you've represented on your website. So they know, like and trust and that will give them a reason to buy.  27:11 - Danielle Famble (Guest) And what I like about your Old Navy example is, for a lot of people, and myself included, I've been personally really afraid of direct marketing because it feels like it's such a heavy lift and you've always got to be doing it and there's just so much to do and how do you have the time to send out you know a thousand emails or what have you.  27:31 But the point that you're making and the point that I'm receiving from what you're talking about is really that this is sort of the engine that is constantly running in the background to bring more leads into your business, or at least more eyeballs on your brand, so that they can see who you are. When they are ready, then they will be reaching out to you. But you have to constantly be doing it and it can just be a little bit at a time, but just one touch is not enough. So you have to continually put in the energy and the effort for it and then, going back to the finances of it, recognize that you will either be paying with your money or with your time. You can outsource these things and it is something that is possible to outsource that somebody else is doing it, which is exactly what the VO Blast is yeah, and people will say and my blast.  28:16 - Anne Ganguzza (Host) If you decide, after you send out an initial blast which introduces by the way, it introduces you to the list that I've created for you, and then after that, it becomes top of mind, just like you said, continually, they've got to be reminded, like I forgot, oh, I forgot, that Old Navy has got a new. If I don't see it in front of me, I might forget. So I need to be reminded. So, even if I don't open the email, I need to see the email coming through my inbox, right, that it's coming from Old Navy and the subject line will say, right, summer sale or summer fashion. And then I'll be reminded. Yes, now the time is right, let me click, let me go, let me see if it has what I want and I will buy if it, you know, if it suits all of my needs. So just know that reaching out to someone once a month, which is what we do in reality, I could be reaching out for you a couple times a month and I've thought about changing up my product offering to allow maybe two times a month. That is not spam, that is absolutely not spammy and I, by the way, I want to make sure that we're not spamming people, because if you yourself have been spammed, you know how off-putting that can be and that can take a promising lead and just kill it forever, because I've had people who have reached out to me trying to sell their services and I've been completely turned off and I basically blacklist them. So, as a provider of this sort of service, I have to be careful that VioBoss is not sending spammy messages. So keep in mind, if you ever are interested in that, you can find out more at that. Vioboss is not sending spammy messages. So keep in mind, if you ever are interested in that, you can find out more at the VioBoss website. It's called the VioBoss Blast and I can also talk to you about the specifics of it.  29:48 But I am very protective of my domain. I make sure that we're not spamming. Your email goes through my eyes every single time, so I want to make sure that I'm protecting my brand as much as I'm protecting your brand. But yeah, so your financial investment there will be in your time curating leads yourself right for direct marketing and then being careful that you're not spamming or investing and outsourcing it to someone like a VO Boss Blast like myself or somebody else to do your marketing for you. Be careful.  30:16 I will just say, if you're buying a list because I'm selling you marketing to a list, I'm not selling you a list. The list, I happen to know, is a reputable place that constantly updates their contacts so that if somebody doesn't work for the company anymore, they're taken off the list. I don't send emails to a stale list and I don't give you a list because of that Number one. You don't know how long that list has been around. You didn't verify those people and you didn't find out from those people that they've allowed you to send them email. You've not gotten permission.  30:47 So I'm the one who has permission based on the list that I am curating for you and then sending email out on behalf. So your investment there is, whatever it costs, to outsource the marketing and the generation of that email to a permission-based list. So, wow, so that was a lot. Yeah, that was a lot, but it's so important, bosses, that you understand that without people having a need for your product, for your voice, your business, won't exist for your product, for your voice, your business won't exist.  31:19 - Danielle Famble (Guest) And that marketing is a huge way to keep your business flowing, because either you are doing the direct marketing yourself or you are connecting your business to other businesses. But it does require a time and financial commitment to keep all of this up and it has to be done on a daily basis, and even including auditioning. Auditioning is marketing. So auditioning on all of these different platforms and your own is ways to market yourself as well. So this is just. It's got to constantly be happening in order to bring your business continual revenue.  31:52 - Anne Ganguzza (Host) Yeah, absolutely, and so there is a financial investment everywhere. It's so funny, danielle, because this series on money. It's funny how much people don't necessarily want to talk about it, but it's in every single aspect of our business, of our performance, of our auditioning, of our it's your time or your physical money that is involved and we have to be conscious of it and we have to be educated about it and we have to be accepting of it, right.  32:18 - Danielle Famble (Guest) Yeah, absolutely.  32:19 - Anne Ganguzza (Host) Which is what our series is attempting to do for the bosses out there, danielle, and I'm so grateful that I get to talk to you about it, because, god, you just bring so much to the table. Thank you so much.  32:28 - Danielle Famble (Guest) Thank you so much, anne. I love talking about this and I think that having an open and honest dialogue about money, about how we can have it, make more of it, make it grow, how we can bring it into our lives and our businesses, is really what helps us impact the world around us, because it requires money and there's nothing wrong with that. In fact, it's wonderful and, as we always say, I love money and I love talking about it.  32:53 - Anne Ganguzza (Host) All right, bosses, we love money. Go out there and market. Thank you again, danielle. This has been a really great episode. I'm going to give a great big shout out to our sponsor, ipdtl. You, too, can connect and network like bosses. Find out more at IPDTLcom. Bosses, have an amazing week. Go out there and market yourself, and we will see you next week. Bye, bye.  33:16 - Intro (Announcement) Join us next week for another edition of VO Boss with your host, Anne Ganguzza, and take your business to the next level. Sign up for our mailing list at vobosscom and receive exclusive content, industry revolutionizing tips and strategies and new ways to rock your business like a boss. Redistribution with permission. Coast to coast connectivity via IPDTL.   

This episode the boys sit down to go through the next installment of bosses, Godwars and Wilderness. Call in on Speakpipe and leave us a voice message! Join the community discord: www.Discord.gg/Wilderness  You can support the show at: www.Patreon.com/TheWildernessPodcast  Come hangout in-game in our clan 'Wild' Get in touch with us at TheWildernessPodcast@gmail.com #magicmind #mentalwealth #mentalperformance  

Mark Mix, is President of the National Right to Work Committee which is a 2.8-million-member public policy organization. He also serves as President of the National Right to Work Legal Defense Foundation. Trump Battle vs. Union Bosses Rages On

In this powerful episode of Boss Talk, Dizzy and Jelani return to break down the headlines they won't give you the full truth about. From social media crackdowns to generational struggles in the workplace—and even the hidden racism baked into your favorite board game—this one's packed with facts, fire, and real talk. Tap in! TOPICS COVERED: 1. TikTok in Danger Again? With Trump extending the ban deadline for a second time, the future of TikTok in the U.S. is on shaky ground. We break down the legal, political, and global implications.    2. Gen Z is Struggling in the Workplace Gen Z graduates are being fired just months into their first jobs. Employers blame work ethic—Gen Z blames poor leadership and outdated corporate culture. We break down both sides. Bosses are firing Gen Z grads just months after hiring them.   3. Why Are Black Men Skipping College? HBCUs are reporting their lowest Black male enrollment in 50 years. Are we witnessing a shift in values—or is it a response to deeper systemic issues? IHBCUs report lowest Black male enrollment in 50 years .   4. The Truth Behind Monopoly That classic board game has a dark history. From its origins as a warning against capitalism to its layout reflecting real-life segregation, Monopoly is deeper than most realize. We break down: • How the cheapest properties represent real Black and immigrant neighborhoods • How the game mirrors redlining and racial capitalism • Why it was originally meant to criticize the system—not glorify it    The Color of Law by Richard Rothstein • The Atlantic City Historical Society • The Root & Smithsonian Magazine COMMENT BELOW: Which topic hit home the most for you?    Are Gen Z expectations off—or are employers stuck in the past?  What do you think about the real history of Monopoly?    Don't forget to LIKE, SUBSCRIBE, and SHARE this episode if you rock with Boss Talk!

Paul Rappaport has had a fascinating career in the music industry that has led him to crossing paths with some of the most important musicians of the last century. Folks like Bob Dylan, Bruce Springsteen, Billy Joel, the Rolling Stones and Pink Floyd. Now Rapp (as he's known to his friends) tells all the stories with his new book "Gliders Over Hollywood," and it's one fun ride. We sat down with Rapp to talk about all of this and, maybe get to the bottom of this whole Pink Floyd/Enigma thing?"Gliders Over Hollywood" is available April 15th, wherever you get your books. 

Years ago I inverted the pyramid and promoted the best salespeople to become the branch leaders.  The existing branch leaders were shuffled around to new branches and they provided the grey hair and the credibility needed by the older rich clientele, but didn't have responsibility for driving revenues anymore.  They were moved because if they had stayed in the same branch, they would have undermined the authority of these “upstarts” recently promoted.  The revenue generation responsibility was shifted from guys in their 50s to a 60/40 mix of younger guys and gals, taking the average age down to 35 years of age.  It was a revolution in Japanese retail banking. Not all made the transition from selling to leading but most did.  This was the American Dream brought to Japan.  In this brave new world, a young woman could become a branch head at the age of 35.  That was previously unimaginable.  The impact on recruiting talented, bright kids out of the best universities was profound.  We were bringing on board young people who were incredible and they chose us over the bigger more powerful competition, because they saw a new future here in Japan for themselves that hadn't existed before. There were many reasons for instituting this revolutionary change, but one of them was the generational divide between the older male branch leaders and the younger people they were responsible for.  Like me, they had all grown up under the tough love school of boss supervision.  When this is how you were raised in business, it is extremely hard to break free of that and try something unfamiliar and different.  The intentions are always good and were to make the younger staff better.  The issue had become the style of communication to achieve that.  Straight talk, for many in my generation, means tons of critique, criticism and maybe even verbal abuse.  That is what we got from our bosses, so we are passing it on down the generations. The younger people today though have a lot more options than we had.  They have compliance systems, staff surveys of bosses and a fundamental change in societal attitudes working in their favour.  The demographic decline in the numbers of young people means there is a strident war for talent going on, as companies try their best to find enough young people to hire.  The young are a finite resource in a sea of strong demand.  That changes the power equation substantially from when I was a kid. We were all assured we were quite disposable.  In the modern era, criticism has to be replaced with words of encouragement.  Bosses have to adjust their expectations.   This sounds simple, but it is confronting.  I remember once calling one of my younger staff and I left a message to call me back. There had been some internal staffing changes and I wanted to assure them that everything would be fine.  I also wanted to gauge how they were was feeling about the changes.  No call back, but later I did see a text message to my phone that said they were “not mentally ready to speak with me yet”. I don't know about you, but for someone brought up on tough love, that statement seemed so soft, indulgent, entitled, namby-pamby, no guts and divorced from reality.  I tell you I had fire and sparks coming out of my ears and eyes immediately I read their message.  I was furious. I could never imagine I would say such a thing to the President of the company, if I were a junior employee.  If the President left a phone message saying “call me back” then I would drop everything and make that call as soon as I got that message.  We lead a different generation today.   In their mind, there was no problem with brushing off the President, because they weren't ready to have that conversation. I eventually spoke with the staff member and accommodated some concerns they had and all was good and resolved - for them. I wasn't resolved though.  Maybe I should have just left it, but I couldn't. I had to address their phone message to me.  This person was talented and I didn't want to lose them, so I knew I was walking on a tightrope.  My tough love upbringing had their “immature, naïve, stupid, unacceptable” comments stuck firmly in my craw.  I told them quietly, calmly but firmly, that if they ever got another message from me to call me back, then they should do so pronto.  If they couldn't manage that, then they should find another President to work for.  They could do that easily by the way, because they are in the zone of high talent demand.  Where do we draw the line today though?  I know the way I was raised in business wasn't the most ideal and that I am a hangover from a bygone era, but I am still here and still leading. How much crap do we have to put up with from this younger generation?  I would guess a whole lot more, certainly more than we anticipate or want.  There is no finite answer, but clearly our method of communication is going to have to change.  It has to  become much more nuanced than anything we ever experienced from our bosses.  I will try to keep Principle #17 in my mind, “Try honestly to see things from the other person's point of view”.  Also, Principle #8, “Talk in terms of the other person's interests”.  And I will definitely follow Principle #1, “Don't criticise, condemn or complain”.  If I can keep the fire and sparks within me from burning the whole thing down, then there may be hope for me yet.  

Join #LasVegasRaiders Beat Writer @HondoCarpenter for Tuesday's Ridin' w/Hondo & Dexter on the @FansFirstSN. #Raiders #RaidersNation #NFL Learn more about your ad choices. Visit megaphone.fm/adchoices

Bill Horan talks with Mark C. Fava, author of LESSONS FROM THE ADMIRAL.  Mark will discuss why it is important to observe the leaders we work for, why he calls himself an "active learner", why bosses measure your performance by how you meet their expectations and why the key is to know what bosses want, not what is important.

Brooke and Ryan break down the official KH2 Boss Ranking and tease what's next on the final KH2 episode.https://www.patreon.com/KingdomHeartsKingdomHearts

In this Episode, (Arnie is Out of Town but will be back next week) RJ drops a "deep cut" into what happened to the Record Label Reggie Wright Jr. was a part of starting- a label funded with stolen money. Some people just attract scandal. AND BIG THANKS to BIG GENE DEAL! WATCH "Tupac: Cover-Up"! https://tubitv.com/series/300013139/tupac-cover-up

The Smart 7 is an award winning daily podcast, in association with METRO, that gives you everything you need to know in 7 minutes, at 7am, 7 days a week…With over 17 million downloads and consistently charting, including as No. 1 News Podcast on Spotify, we're a trusted source for people every day and we've won Gold at the Signal International Podcast awardsIf you're enjoying it, please follow, share, or even post a review, it all helps... Today's episode includes the following: https://x.com/i/status/1907534006419075497 https://x.com/i/status/1907444596113584161 https://x.com/i/status/1907391218905936078 https://x.com/i/status/1907395511750902247 https://x.com/i/status/1907410721597473034 https://x.com/i/status/1907377253148770550 https://x.com/i/status/1907548506476204104 https://youtu.be/9-892T6Sm0c https://x.com/i/status/1907075188958597499 Contact us over @TheSmart7pod or visit www.thesmart7.com or find out more at www.metro.co.uk Voiced by Jamie East, using AI, written by Liam Thompson, researched by Lucie Lewis and produced by Daft Doris. Hosted on Acast. See acast.com/privacy for more information.

In the spring of 1931, Charles Luciano orchestrates the removal of his boss, Joe Masseria. Luciano cuts a deal with Salvatore Maranzano to become the boss of his own crime family. But when Maranzano declares himself “the boss of all bosses,” Luciano becomes concerned. After months of Maranzano's tyranny, Luciano realizes he needs to force another dramatic change in order to institute his vision for the mafia. Join Black Barrel+ for ad-free episodes and bingeable seasons: blackbarrel.supportingcast.fm/join   Apple users join Black Barrel+ for ad-free episodes, bingeable seasons and bonus episodes. Click the Black Barrel+ banner on Apple to get started with a 3-day free trial.   On YouTube, subscribe to INFAMOUS+ for ad-free episodes and bingeable seasons: hit “Join” on the Legends YouTube homepage.   For more details, please visit www.blackbarrelmedia.com. Our social media pages are: @blackbarrelmedia on Facebook and Instagram, and @bbarrelmedia on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, we discuss the upcoming film ALTO KNIGHTS and the real history behind the legendary mob bosses it portrays. Frank Costello and Vito Genovese-two of the most powerful figures in organized crime- are both played by Robert De Niro. We explore their rivalry, their impact on the Mafia, and how Hollywood is bringing their story to the big screen.

In this episode of Instagram for Bosses, I'm sharing the step-by-step playbook for turning your expertise into income by selling your services directly on the ‘Gram, no sleazy sales tactics or confusing funnels required.We'll cover:✨ How to position yourself as the go-to expert in your niche✨ The secret to creating offers your audience actually wants to buy✨ What to post to convert followers into paying clients✨ How to slide into the DMs without feeling awkward✨ The power of focusing on transformation over featuresPlus, I'm dropping a freebie that'll help you boost your engagement and write scroll-stopping content in half the time.

Let's do this! The Cult of Hockey podcast. By the Faithful and for the Faithful. Today Bruce McCurdy and David Staples dig into the Oilers of Edmonton's 3-2 win over the Flames of Calgary.

The truth behind The Irishman's tall tales: DNA evidence from a Michigan landfill ties Hoffa's remains to a Teamsters-funded incinerator. Retired hitman Frank Sheeran's daughter reveals his deathbed confession: “We fed Hoffa to gators in Florida.” Plus, FBI files proving J. Edgar Hoover let the mafia kill Hoffa to silence his Nixon tapes. Was Hoffa's corpse buried under Trump Tower?

 In OVERTIME, we've got Lala Penaranda from Trade Unions for Energy Democracy to talk about how unions from the Global South are fighting climate change and fighting the bosses. We also take your calls, and you can leave us a voicemail at 844-899-TVLR. ✦ ABOUT ✦The Valley Labor Report is the only union talk radio show in Alabama, elevating struggles for justice and fairness on the job, educating folks about how they can do the same, and bringing relevant news to workers in Alabama and beyond.Our single largest source of revenue *is our listeners* so your support really matters and helps us stay on the air!Make a one time donation or become a monthly donor on our website or patreon:TVLR.FMPatreon.com/thevalleylaborreportVisit our official website for more info on the show, membership, our sponsors, merch, and more: https://www.tvlr.fmFollow TVLR on Facebook: https://www.facebook.com/TheValleyLab...Follow TVLR on Twitter: @LaborReportersFollow Jacob on Twitter: @JacobM_ALFollow TVLR Co-Creator David Story on Twitter: @RadiclUnionist✦ CONTACT US ✦Our phone number is 844-899-TVLR (8857), call or text us live on air, or leave us a voicemail and we might play it during the show!✦ OUR ADVERTISERS KEEP US ON THE AIR! ✦Support them if you can.The attorneys at MAPLES, TUCKER, AND JACOB fight for working people. Let them represent you in your workplace injury claim. Mtandj.com; (855) 617-9333The MACHINISTS UNION represents workers in several industries including healthcare, the defense industry, woodworking, and more. iamaw44.org (256) 286-3704 / organize@iamaw44.orgDo you need good union laborers on your construction site, or do you want a union construction job? Reach out to the IRONWORKERS LOCAL 477. Ironworkers477.org  256-383-3334 (Jeb Miles) / local477@bellsouth.netThe NORTH ALABAMA DSA is looking for folks to work for a better North Alabama, fighting for liberty and justice for all. Contact / Join: DSANorthAlabama@gmail.comIBEW LOCAL 136 is a group of over 900 electricians and electrical workers providing our area with the finest workforce in the construction industry. You belong here. ibew136.org Contact: (205) 833-0909IFPTE - We are engineers, scientists, nonprofit employees, technicians, lawyers, and many other professions who have joined together to have a greater voice in our careers. With over 80,000 members spread across the U.S. and Canada, we invite you and your colleagues to consider the benefits of engaging in collective bargaining. IFPTE.org Contact: (202) 239-4880THE HUNTSVILLE INDUSTRIAL WORKERS OF THE WORLD is a union open to any and all working people. Call or email them today to begin organizing your workplace - wherever it is. On the Web: https://hsviww.org/ Contact: (256) 651-6707 / organize@hsviww.orgENERGY ALABAMA is accelerating Alabama's transition to sustainable energy. We are a nonprofit membership-based organization that has advocated for clean energy in Alabama since 2014. Our work is based on three pillars: education, advocacy, and technical assistance. Energy Alabama on the Web: https://alcse.org/ Contact: (256) 812-1431 / dtait@energyalabama.orgThe Retail, Wholesale and Department Store Union represents in a wide range of industries, including but not limited to retail, grocery stores, poultry processing, dairy processing, cereal processing, soda bottlers, bakeries, health care, hotels, manufacturing, public sector workers like crossing guards, sanitation, and highway workers, warehouses, building services,  and distribution. Learn more at RWDSU.infoThe American Federation of Government Employees (AFGE) is the largest federal employee union proudly representing 700,000 federal and D.C. government workers nationwide and overseas. Learn more at AFGE.orgAre you looking for a better future, a career that can have you set for life, and to be a part of something that's bigger than yourself?   Consider a skilled trades apprenticeship with the International Union of Painters and Allied Trades. Learn more at IUPAT.orgUnionly is a union-focused company created specifically to support organized labor. We believe that providing online payments should be simple, safe, and secure.  Visit https://unionly.io/ to learn more.Hometown Action envisions inclusive, revitalized, and sustainable communities built through multiracial working class organizing and leadership development at the local and state level to create opportunities for all people to thrive. Learn more at hometownaction.orgMembers of IBEW have some of the best wages and benefits in North Alabama. Find out more and join their team at ibew558.org ★ Support this podcast on Patreon ★

In a House hearing, Republicans pressed the bosses of PBS and NPR on the blatant leftist bias of their news shows, and both leaders claimed these networks are unbiased and nonpartisan. No one believes this.

Rich welcomes RNC Chairman Michael Whatley to discuss the New York Court of Appeals blocking NYC from allowing non-citizens to vote. Next, we learn about "Wiseguys and the White House: Gangsters, Presidents, and the Deals They Made," from author Eric Dezenhall. Later, we're checking in with Guardian Angels founder Curtis Sliwa, with an update on his mayoral campaign, and thoughts on the clash over congestion pricing in New York City. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Patricia Murray Workplace Psychologist, previously with the Health and Safety Authority

The men or women who sit at the head of criminal organizations function much in the same way that a CEO would for a big business and most of these men or women who are running cartels would have just as much success running a legit business as they do an illicit one. In this episode, we dive in and see how things shake out. (commercial at 8:10)to contact me:bobbycapucci@protonmail.comsource:https://www.msn.com/en-us/money/markets/criminals-like-el-chapo-embody-the-underground-equivalent-of-successful-execs-author/ar-AAZUSYU?ocid=msedgntp&cvid=c9923af5cbd749acea92e50ad97b5dfa

Trump should appeal directly to workers, not just union bosses, if he wants to truly connect with the American electorate. The traditional political lines that divide conservatives and liberals have been upended by his approach, which challenges the status quo.

Gov. Newsom Gives ‘Burner’ Phones to Tech Bosses Please Subscribe + Rate & Review KMJ’s Afternoon Drive with Philip Teresi & E. Curtis Johnson wherever you listen! --- KMJ’s Afternoon Drive with Philip Teresi & E. Curtis Johnson is available on the KMJNOW app, Apple Podcasts, Spotify, Amazon Music or wherever else you listen. --- Philip Teresi & E. Curtis Johnson – KMJ’s Afternoon Drive Weekdays 2-6 PM Pacific on News/Talk 580 & 105.9 KMJ DriveKMJ.com | Podcast | Facebook | X | Instagram --- Everything KMJ: kmjnow.com | Streaming | Podcasts | Facebook | X | Instagram See omnystudio.com/listener for privacy information.

Anne Ganguzza (00:05.233) Hey everyone, welcome to the VO Boss podcast. I'm your host, Anne Ganguzza, and today I am so excited to be with very special guest, Luanne Regis. Luanne is a veteran voiceover agent and talent agency executive with over 30 years of experience. Her career spans everything voiceover, all voiceover, including... heading up scale departments at two LA boutique agencies, running the celebrity division at a top bi-coastal theatrical and commercial agency, as well as launching her own Chicago voiceover department in 2007. After a year at Sound and Fury Casting, she now owns and operates her own talent representation agency, Regal V.O. Luanne, thank you so much for joining me today. Luanne Regis (00:57.621) and thank you for having me, Anne. Anne Ganguzza (00:59.929) I love this. So I had such a wonderful time meeting you like fleetingly at MAVO and was so excited to get the chance to talk to you and work with you as well. You're gonna be coming up soon as a guest director for me on my VO Peeps group. So I'm very excited about that. And so for bosses that don't know who you are, give us a brief, kind of a brief. Luanne Regis (01:06.115) Yes. Luanne Regis (01:16.777) I can't wait. Anne Ganguzza (01:26.981) bio of you more than what I've given in regards to your evolution through the years as a talent agent and representative. Luanne Regis (01:37.067) Sure, of course. So I'll try to be brief because it is quite a long speech. And you know, voiceover, just, people ask you, how do you get into voiceover? And I'm like, I sort of really just fell into it, which I did. You know, back in the mid nineties, I answered an ad, they were looking for a voiceover assistant, an agent, and one of the partners at a boutique agency was looking for an assistant. And I thought, this is great. Let me just try this. And I quickly liked it. I liked the fact that Anne Ganguzza (01:41.124) Ha ha ha ha! Luanne Regis (02:04.703) The voice can really be anything. It has nothing to do with your aesthetic, what you look like, how tall you are, what color your hair is. I loved that. That to me was a very creative aspect for VoiceOver. And I started there and quickly became an agent, a scale agent, and was there for about five years. I have seen the business really, really grow and change to... And right around the early 2001s when all of the theatrical agencies were getting into voiceover because they poo-pooed and they snubbed their noses at voiceover for so very long, a major theatrical agency wanted to have a voiceover department. And so they plucked our entire department from the boutique agency, which was Special Artists, which is where I worked since the mid-90s. And we took our entire business, SpongeBob and all, and set up shop at Innovative Artists, which was the Anne Ganguzza (02:56.229) Mm-hmm. Luanne Regis (02:58.751) Bicoastal theatrical agency that I was at for 16 years, including what you mentioned in my bio, starting a Chicago voiceover department for them in 2007, just after the birth of my daughter. So I was there for 16 years and you wake up one day and you have 800 clients because you represent not only, we came with not only our voiceover department intact with all of our amazing clients, but we also were there to represent. Anne Ganguzza (03:00.314) Yes. Luanne Regis (03:26.591) their clients and they have a really healthy roster, a very well known TV and film actors. And that's where I began doing celebrity and overscale voiceover and really enjoyed it. But you know, like I said, you wake up one day and you have 800 clients and that's a lot to manage, especially in the way in which I agent. I was taught voiceover agenting by one of the best, she's a mentor, Marsha Hurwitz. you know, it's... Anne Ganguzza (03:29.735) Mm-hmm. Anne Ganguzza (03:43.441) Yeah. Luanne Regis (03:52.321) All hands on, it's more like a manager. It's not just submit an audition and whatever happens happens. It's you pitch, you sell, you call producers. We don't do that anymore because the business has changed. But you're on the phone, you're calling producers, you're selling people, you're saying, I think you should really listen to Nancy Smith. She's really good on this read. That's the way I voice over agent and it's really impossible to do that with 800 people. Anne Ganguzza (03:55.589) Yeah. Luanne Regis (04:20.641) 800 clients on your roster. So I went back to my small boutique agency, Roots TGMD Talent, which is formerly Tishman Agency. the owner, Kevin Motley, who's a dear friend of mine, had recently sort of reshaped his agency, gutted all of the promo and trailer announcer type guys, which was an avenue in which advertisers weren't going down anymore. And we built a really great roster of actors, well-known actors. Anne Ganguzza (04:28.993) Yep. Luanne Regis (04:50.761) working actors, which is all I know. I know about actors in voiceover as opposed to voice actors. And was there for four years doing that until the pandemic. And then after the pandemic, I thought, you know what, I want to try my hand on the buyer's side. I always wanted to try my hand at being on the other side of the business, not just rapping. And so I worked at Sound and Fury, which is one of the, if not the top voice casting companies in the entire country, if not the world. Anne Ganguzza (05:14.928) Mm. Luanne Regis (05:18.941) And you know, really enjoyed my time with that team. They're like a family to me. And I missed representing talent and agenting. And so after a year, I decided to go back to it, but do it on my own. And believe it or not, I kept a lot of clients with me even as I left the agenting side and went over to the casting side because I have a a really lovely roster of very loyal talent. Some of them I've had since I started in the mid 90s and you know they were very sad to see me leave the agenting side. So they sort of held on to me even while I was on the casting side and once I decided to jump back they were like well we're still here for the ride let's go and that's how I sort of built my roster, my independent roster I should say and again it just they just come at me. I have agents and managers and Anne Ganguzza (05:56.687) Mm-hmm. Luanne Regis (06:13.909) theatrical agents and commercial agents just wanting to work with me and they throw all their clients my way and I don't refuse them because I love to Anne Ganguzza (06:21.827) love that, I love that. You know, it's interesting because, you know, as we're talking, you're kind of going back and forth between casting and agent and manager. And, you know, for the benefit of our boss listeners, what is your definition of the difference between the responsibilities of each? Because I think it's important for us as voice actors to know when we're trying to develop relationships, you know, to understand. what is encompassed in your job because that makes us able to communicate with you easier and help you, because I really believe it's a partnership no matter what you're really looking for. And so I think it will help us as voice actors to work with agents or casting directors better. Luanne Regis (06:57.664) It is. Luanne Regis (07:06.443) Well, the reason why, and that's a great question, and the reason why the transition from agent to casting director back to agent was such a seamless one is because a lot of what my job entails as a voiceover agent is casting. We work with casting directors, but agents also work directly with buyers and producers, and they come to us looking for talent. And we sit there and cast. Anne Ganguzza (07:22.287) Mm-hmm. Anne Ganguzza (07:28.657) Mm-hmm. Luanne Regis (07:33.555) in pretty much the same way a casting director who gets paid to do it does it. I sit there, I go through my roster, who's right for this? And I do essentially do a casting. And so a lot of my agenting is casting, but that's just sort of like the day-to-day job of a voiceover agent. Again, back in the day when we had booths and actors would come into our lobby and read and have, you'd be distributing copy, you know, back in the day, pre-pandemic and all that. Anne Ganguzza (07:41.307) Mm-hmm. Anne Ganguzza (07:48.07) Mm-hmm. Anne Ganguzza (07:58.631) Look at Luanne Regis (08:03.611) A big part of my job also was directing talent, not just sitting at a desk and agenting. I would go into the booth. I need to know what my talent does. I need to be able to sell that person. So in order to do that, I'm in the booth, I'm directing, and I really, really love that directing process because it's, again, it hinges on such creativity. It's so creative. They get to play around. I get also to play around with them in terms of what they can do, what their range is. Anne Ganguzza (08:07.974) Mm-hmm. Anne Ganguzza (08:15.109) Right. Anne Ganguzza (08:21.264) Mm-hmm. Luanne Regis (08:32.991) And that's how I know what my clients can bring to the table so I can effectively sell them. So it's casting, it's directing, it's obviously selling. It's very managerial as well because I'm, like I said, very, very hands on. you know, like for instance, many times I go into the booth with a client and we'd spend an hour in there if we have the time. And the last five minutes of that hour really is recording the copy and auditioning. Anne Ganguzza (08:46.767) Mm-hmm. Anne Ganguzza (09:02.342) Mm-hmm. Mm-hmm. Luanne Regis (09:02.561) but the previous, how many ever minutes, spent catching up. How's your wife? How are the kids? How is life? How's your mom doing? Stuff like that. That's how you get to really know clients because what they share with you in the booth, you bring that to you as you're casting. You bring that to you as you're selling them. You have to really know them inside out. That's more of a very managerial, I think, position as an agent. Anne Ganguzza (09:08.646) Right. Anne Ganguzza (09:16.238) Right. Luanne Regis (09:30.641) not all agents agent that way. I just learned to do it that way. So it's manage it's managing talent. It's selling talent, agenting obviously, but it's also casting and directing talent in the booth. And then of course your negotiations skills come into play. Your knowledge of contracts, your knowledge of legal, legal procedures, as far as contracts go. That's all encompassing as a voiceover agent. Anne Ganguzza (09:33.484) Mm-hmm. Mm-hmm. Anne Ganguzza (09:48.355) Sure. Anne Ganguzza (09:54.34) Mm-hmm. Anne Ganguzza (09:58.767) It's such a broad base of that you need to have. And you said something before that I thought was so interesting. You said you had been working with, and it really, I think it goes to show the evolution of the business. You talked about actors who did voice acting rather than voice actors. And so I caught that little tiny nuance right there, which really speaks to your amount of time and experience in the industry. Luanne Regis (10:00.82) It is. Luanne Regis (10:16.416) Yes. Yes. Luanne Regis (10:23.829) Yes, yes. Anne Ganguzza (10:25.509) Because how often, like what would you say, I guess now in your, because you've been in business for so long, you must still, I suspect, deal with actors who do voice acting, as well as voice actors. And what are your thoughts on how you work with, let's say, actors now who do voice acting, or voice actors differently? Do you spend as much time, or how does that work today? Luanne Regis (10:33.877) We will. Mm-hmm. Luanne Regis (10:53.737) The reason why for me, it's actors in voiceover, not only was I brought up in the business knowing that, because when I started at Special Artists, they were mainly a commercial, on-camera commercial agency, and this predated me, obviously, but when they started their voiceover department, they used their on-camera actors as the basis for their voiceover department. Anne Ganguzza (10:56.25) Mm-hmm. Mm-hmm. Anne Ganguzza (11:10.118) Mm-hmm. Anne Ganguzza (11:21.253) Mm-hmm. Luanne Regis (11:21.853) I come from a track record where the agents who taught me used actors and put them in voiceover and made them successful. The voice of SpongeBob, Tom Kenny, was a comedian, an actor. We put him, he made that transition because of how talented he is. So I do feel voiceover is not just a voice, you're acting. Anne Ganguzza (11:29.339) Mm-hmm. Anne Ganguzza (11:35.44) Mm-hmm. Anne Ganguzza (11:49.35) Sure. Yeah. Luanne Regis (11:50.529) You're bringing copy to life. You're selling copy, but you have to bring it to life. You have to connect with the product. You have to connect with what the words are saying. So at the end of the day, it really is about acting, which is why I favor having someone who has an acting resume, someone who's done work, because they have a certain measure of experience that they can bring to the voiceover table. Anne Ganguzza (11:59.761) Sure. Anne Ganguzza (12:08.358) Sure. Anne Ganguzza (12:15.463) Yeah, yeah, absolutely. And I love the emphasis on acting because even for something like I specialize in a lot of the corporate e-learning, the non-broadcast style stuff, but in order to really bring that material to life, and sometimes it needs a lot of help, just saying, because it can be a little bit dry and boring, you have to, I mean, every company, and I think whether you're dealing with commercial, Luanne Regis (12:27.894) Yes. Anne Ganguzza (12:41.959) Right? Any type of copy. mean, if you're dealing with a company or a client, they're ultimately, I mean, unless you're doing entertainment, right? Ultimately, they're trying to sell something. And so there's always a story. I good companies, I would say that, you know, it's marketing 101 that, you know, stories really sell better than, you know, Luanne Regis (12:49.375) Right. Absolutely. Anne Ganguzza (13:03.322) cold heart announcing facts sort of thing. And so if you can be the actor that can tell the story or understand the story that the company wants to sell or tell, that's gonna help them to sell. So I love the emphasis on acting. Luanne Regis (13:04.437) Yeah, yeah. Luanne Regis (13:14.749) Absolutely, and it really, you're absolutely right. When you say, a story, that is really what it is. I was telling actors yesterday, you have to, when you get a script, you create a narrative behind that script that those lines will support. Whether it's right or wrong, it's truthful and it's authentic. But you do have to connect with the product. You do have to connect with the lines. You do have to connect with the script. And the only way you do that is if you make it part of a story that you're telling. Anne Ganguzza (13:36.142) Mm-hmm. Anne Ganguzza (13:45.703) Yes, absolutely. And I think that's what so, at least with students when I'm working with them in the corporate narration or the e-lin, like what story? I'm delivering information. I'm like, but there is a story and you have to keep the listener's attention for longer than 30 or 60 seconds. This is not a 60 second commercial. And so even if I... Luanne Regis (13:58.849) We resist. Luanne Regis (14:04.372) You too. That's right. Anne Ganguzza (14:08.642) I think if the story doesn't make sense, right, if they're reading the words and they're like, well, I would never really say that, or you know, you have to create the scene in which those words make sense. And I guess my question to you is, what would you say is the main difference between on-camera acting and voice acting? Luanne Regis (14:17.173) That's right. Yes. Luanne Regis (14:26.939) on camera acting, you have so much more at your disposal. You have what you look like, you have the physicality of being on camera. And this is why I love voiceover, because with voiceover acting, you have to basically emit all of that just vocally. Whether you're in the booth and you're, you where you see the animation characters, they're in the booth and they're using their hands and all that, that's all well and fine, but that does not translate on camera in the way it Anne Ganguzza (14:31.59) Mm-hmm. Anne Ganguzza (14:44.708) Yeah, yeah, through your voice. Luanne Regis (14:56.417) would if you were an on-camera actor. really does have, so again, we go back to is telling that story. If you have a story to tell, it's gonna come out in the words, it's gonna come out in the smile, it's going to come out in the warmth that you bring out, or not the warmth, or the cold, or whatever it is, the stories that you're telling. But it all comes from the heart, it all comes from here. Anne Ganguzza (14:57.062) Right. Luanne Regis (15:22.313) as opposed to you being able to use your hands to gesture in a way that conveys whatever you're trying to convey in an acting, you know, when you're acting. Anne Ganguzza (15:26.49) Mm-hmm. Mm-hmm. Anne Ganguzza (15:32.231) So what would you say when you're working with talent? time is precious these days, so I imagine that you probably don't have as much time to work with talent, let's say on a job or an audition, as you would. What are the types of things that you find you're telling your talent to do most in terms of, know, either following direction better or their performance-wise? What are the kind of tips or tricks that you're speaking to most? Luanne Regis (15:40.437) Yeah. Yeah. Yeah. Luanne Regis (15:59.487) Yeah. Well, it does vary from project and script to script, obviously, but a lot of it is what I just said, you know, creating that story, creating that narrative. A lot of times, and this specifically relates to commercial copy, a lot of times you get a script and you have no idea what the storyboards are. You have no idea what the visuals are. You just have maybe two or three lines and you sort of have to put it together. At that point, you have to make a very specific creative choice. This is the story I'm going to tell. Anne Ganguzza (16:02.171) these days. Mm. Anne Ganguzza (16:18.566) Mm-hmm. Anne Ganguzza (16:25.562) Mm-hmm. Luanne Regis (16:27.957) So that's one tip and we just spoke about that. There's a lot of non-announcery, non-polish, non-slick directives nowadays and I always have to tell my clients, so here's what I want you to do. I don't want you to think about yourself on mic. I don't want you to think about yourself up there as a speaker or as an announcer saying something. I want you to sit and talk to a friend at a bar and you say what you need to say and you come from that place. so that we can get you conversational, we can get you casual, and we don't have you coming out of the box like you're making a grand announcement. A tip, a trick I use sometimes is I will have them slate their name after they've done their session, after they've done their audition, because once you slate your name, Luanne Regis, you sort of go into this, okay, I'm here, I'm announcing mode, I just want you to tell me what you have to say on your copy, you can save the slate for later. So that's just one of the tips that I use. Anne Ganguzza (17:05.296) Sure, sure. Anne Ganguzza (17:17.808) Right. Anne Ganguzza (17:25.06) Mm-hmm. Luanne Regis (17:25.375) you know, the conversational thing, just sort of like bring it back home. If it's something that I feel they need to be a little bit more intimate with, I give them situations like, I want you to read this bedtime story to your six year old, or I want you to sit with your child and have a one-on-one conversation with him or her. you know, I just give them a place from which to emote so that we can bring that emotion into the copy. Anne Ganguzza (17:48.752) Mm-hmm. Mm-hmm. Anne Ganguzza (17:52.803) Speaking of emotion, find, for me, just on longer copy, because if you have a particular energy or emotion and you continue for over a minute or two or three, with that same energy, it doesn't necessarily allow the story to flow. And I feel that people might get into the rhythm of this particular emotion or this particular... Luanne Regis (18:03.958) Mm-hmm. Anne Ganguzza (18:14.887) Energy and I feel with with any good story right energy in your story changes and evolves and it can evolve throughout like the course of one sentence even and the energy you start with in the beginning or the story that you tell in the beginning isn't necessarily the same story that's happening or evolving when you're halfway through or three-quarters of the way through and for a lot of for a lot of my students I find that you know if they're if they forget Luanne Regis (18:25.502) Absolutely. Luanne Regis (18:37.152) Right. Anne Ganguzza (18:44.119) about the story halfway through, then it starts to turn into this kind of just into this, let's news, news broadcast read or, you know, something like that. And so in the middle of the script, do you ever have to kind of redirect or give another scene to help this through? Or are you finding that for the most part, you're working with with top caliber actors that already are doing that or have done that? Luanne Regis (18:51.041) Yeah. Luanne Regis (19:09.279) Yeah, know what, an actor is gonna find his or her way, again, depending on the story that they want to tell. The seasoned actors, the really good actors understand how to flow in and out, how to make a change, or how to sort of navigate around certain things. And I'm glad you asked that question, because one point I really wanna bring to mind is sometimes when you're directing talent, I can't tell you. Anne Ganguzza (19:13.723) Mm-hmm. Anne Ganguzza (19:18.042) Yeah. Luanne Regis (19:37.663) Yes, I can give you a line reading. Yes, I can tell you how to do it. But I want you to color it the way you would color it because that brings a certain uniqueness that no one else will do. You might put a pause in the middle of the copy for effect, or you could take a beat, or you could do a slight, And someone else will not necessarily do that. that... Anne Ganguzza (19:39.748) Yeah. Anne Ganguzza (19:44.613) Right. Anne Ganguzza (19:50.395) Mm-hmm. Anne Ganguzza (20:02.822) Mm-hmm. Luanne Regis (20:02.827) Completely changes the way that copy gets conveyed to to the audience. So a lot of times it's it's what you do specifically and not me directing you into that read because I want it I sort of wanted to come from you I want you to bring that that authenticity to it because at the end of the day authenticity is what will May not book you the job, but it will have the producer go. Wait a second. What can we hear what? And that's what you want to do Anne Ganguzza (20:27.787) Mm, it might get you on the short list. Luanne Regis (20:31.357) Exactly. That's what I'm glad you said that I was seeing this exact same thing yesterday. It's like, yes, you want to book the job, but don't focus on booking the job. Focus on wowing whoever's listening, focus on making an impact. So maybe you weren't right for that job, but perhaps you bring you back in for something else. Anne Ganguzza (20:42.17) Yeah. Anne Ganguzza (20:48.133) Yeah, yeah. And also I think then you're really, especially if it's an audition that you're submitting to your agent or casting director that is very familiar with working with actors in regards to, well, okay, it can showcase right away that you're an actor. And if you're an actor, you'll be able to follow direction no matter what the direction ends up being. Cause I have a lot of times people will say to me, but that's not what I hear in the actual commercial. Luanne Regis (21:00.321) Mm-hmm. Luanne Regis (21:06.037) Yes. Anne Ganguzza (21:16.229) you know, it sounds completely different. And, you know, I'm always like, well, you know, it really depends on who's directing you at the time and what the client is listening to and what they hear in their head as being the way they want the copyright. So you have to be versatile enough to be able to take any direction. I've turned in for me as a coach, I've turned to almost saying, well, here, I'm coaching you on how to get the gig, not necessarily on the final product, because Luanne Regis (21:17.878) Thanks Luanne Regis (21:22.251) That's right. Luanne Regis (21:28.415) Yes, yes. Luanne Regis (21:45.429) Right. Anne Ganguzza (21:46.129) Coaching you to get the gig is gonna make you the most authentic actor that you can showcase in the first or second sentence. So for me, Luanne, coming in in the first or second sentence is so important with a connection to the copy. Talk to the importance of maybe that, the first few words that come out of the actor's mouth or in the copy, how important is that? Luanne Regis (21:50.145) That's right. Luanne Regis (21:58.719) Yes. Yes. Luanne Regis (22:10.145) very, very important because again, when I worked at Sound and Fury and we got 800 casting, 800 auditions from one casting, they're listening and they know right away if this person's gonna nail it or not. So you wanna come in just hitting the mark immediately. even, obviously I don't have 800 clients, but you see that process with a casting director. They don't have the time to listen to the entire script if they feel you didn't hit it within the first. Anne Ganguzza (22:24.079) Mm. Anne Ganguzza (22:28.027) Mm-hmm. Luanne Regis (22:39.929) Or maybe not even hit it if you didn't do something in the beginning that made them go. let me keep listening because time is money and they do have to get through all of these these auditions and the same to a certain extent with me I mean I listen to every single audition all the way through but I know by the second or third line if someone has nailed that piece of copy or not just because obviously I have the the experience in the years of the instinct but again, it's that You can't put your finger on it. It's that je ne sais quoi. It's like, yeah, let me keep this. wow, she did that? Okay. It really is important to nail whatever you want to nail at the beginning of the copy as opposed to saving your best for last. Anne Ganguzza (23:24.047) Yeah. Now, I love that you said you listen to the auditions all the way through. Now, why? Why do you do that? Luanne Regis (23:32.085) For several reasons. One, and you said something that I wanted to sort of bring back to the forefront, so I'm glad you asked that question. A lot of times, again, I'm a casting, I'm sort of a casting director when I age, because I'm putting people on stuff and I'm wondering, is she right for it, is he right for it? I have to listen throughout the whole thing. One, because it's my client and they've done the audition and I need to hear what they did, they may not be right for it. Anne Ganguzza (23:33.732) Mm-hmm. Anne Ganguzza (23:48.848) Mm-hmm. Anne Ganguzza (23:54.715) Mm. Luanne Regis (23:58.805) That way I know, you know what, I'm not gonna put him or her on this anymore because I don't think they're right for it. Or I hear something that they do and I think, you know what, I've got something else that, I've got a different role that I think she's right for. I don't think I put her on the right role. I think I need to get her on this other one. So it gives me a clue. It clues me into what my clients can do, what they can't do, even as well as I know them, even as much as I know their range. Anne Ganguzza (24:04.314) Mm-hmm. Anne Ganguzza (24:23.494) Mm-hmm. Luanne Regis (24:25.481) I still am learning a lot about them as we go along. So it behooves me to listen to everything that they do. Anne Ganguzza (24:33.53) so interesting. I love that you listen all the way through because it shows that you really care and that you really care about your clients and you care about making the best fit and really choosing the best person for the job. That just requires a lot of, think, integrity and I love that. I think that's amazing. Plus, I think it's so interesting because maybe even... Luanne Regis (24:36.417) Mm-hmm. It does, yeah. Yeah. Luanne Regis (24:47.359) Yeah. Luanne Regis (24:52.883) Yeah. Anne Ganguzza (24:57.946) You know, people that you've known for a long time, I mean, we continue to grow and evolve and learn and discover. I find with myself, like, I discover new things about myself and it impacts, right, my acting in the booth. And, you know, in lots of different ways where all of a sudden I'll be like, well, gosh, I've been doing it like this for years and goodness, I should have maybe thought this way. And it just will bring something different out in me, which is kind of cool. And so that's just kind of being the lifelong learner sort of. Luanne Regis (25:02.678) Yes. Luanne Regis (25:12.607) Yes. Luanne Regis (25:27.05) Yeah! Anne Ganguzza (25:27.483) you know, always trying to grow my skills and craft. And you think like, well, have I reached this point? Well, now I've done it and I'm an actor. But I feel like you never quite reach the point where you're never not learning. Luanne Regis (25:31.583) All right. Luanne Regis (25:42.129) No, you always are learning and you're always trying new things and I'm always learning things about clients. I'm like, I didn't know you did that. That's good for me. I can sell you in a different way now. it's a learning process on both ends. Anne Ganguzza (25:49.508) Mm-hmm. Anne Ganguzza (25:53.05) Yeah. Yeah. Anne Ganguzza (25:59.142) So the sell, okay? I wanna talk a little bit about the sell. When you're trying to sell a talent, what is it when you're communicating with a client for a particular spot? So what's involved in the sell of it on your end? I'm just curious because I've never, I mean, I've cast people, but I've never really been had to like, hear my choices and then the client will ultimately make the... the end result, but when you're really trying to sell a talent, like what goes, what sort of qualities are you selling in the talent? Luanne Regis (26:36.605) So you're talking about me selling to a buyer a casting director or okay? So then it would it depends on if it's the buyer's a casting director or if the buyer is the actual buyer the producer the the ad agency or something You know if it's a casting director. It's because I want that person to understand He can do this what you're asking what you're asking for me to cast for you This guy can do this so I need you to Anne Ganguzza (26:39.876) Yeah, to a buyer, yes, yeah. Anne Ganguzza (26:45.766) Mm-hmm. buyer, right, Yeah. Luanne Regis (27:05.161) I send links, send if it's stand-up comedians they're looking for, I send a link to their stand-up. One of many different ways I keep all of my auditions, so I will curate a specific sample of voices so that they can hear. For instance, if they're looking for something specific, I go back and I pull auditions that they've done for that specific character and I said, listen, here's what he's done for me in the past. That's one tool I use to sell. Anne Ganguzza (27:20.75) Mm-hmm. Anne Ganguzza (27:32.622) Mm. Mm-hmm. Luanne Regis (27:32.833) And that's to a cast director if I want to convince her that this client can audition for her on a project if it's a buyer the actual buyer the producer the ad agency or Yeah, well, it would be the producer of an ad agency because if it's animation is it's casting directors You know again, it's showcasing what they've done before showcasing the stuff that they've done showing them listen to this Anne Ganguzza (27:40.218) Got it, got it. Mm-hmm. Anne Ganguzza (27:48.357) Yeah, yeah, yeah. Anne Ganguzza (27:55.206) Mm-hmm. Luanne Regis (27:59.647) I know you're looking for a guy that can do this. Listen to him right here. He's done this before. He's auditioned for this before. He's actually booked this before. Here's a spot that he's done. And you might want to listen to this. So that is, that's what I'm pushing when I'm speaking to producers. Sadly, don't get, don't have, agents don't have that direct link to producers anymore. It's really become so remote now and remote, in the sense of remote recording, but. Anne Ganguzza (28:12.003) Mm-hmm. Mm-hmm. Anne Ganguzza (28:16.624) Got it. Luanne Regis (28:27.433) remote in the sense of we're far removed from these producers. I used to be able to pick up the phone and call a producer at Leo Burnett and say, listen to Nancy, she's really great for this. You want to hire her. And they would hire her. But they themselves, the producers, they're removed as well from their clients. Now it's the client, Walmart, that has to make the decision. The producer used to be able to make the decision before. Anne Ganguzza (28:30.181) Yeah. Anne Ganguzza (28:47.59) Sure. that's a, I'm so glad you made that distinction because I think for a lot of voice actors, they don't really know what happens once they submit that audition. then what is, like what's, how does my audition traverse, you know, to either get to the ears of the person who's hiring and who is the person that's hiring, right? You know, because I think if you're my talent agent, right, and I'm auditioning for you. Luanne Regis (29:03.478) Yes. That's right. Luanne Regis (29:11.638) Mm-hmm. Anne Ganguzza (29:17.219) What I love and what I've heard from you is that you must have a little file of me where you're keeping all my good auditions and you're keeping all the spots that I've done and I like that, right? You didn't just trash my audition if I didn't work for that particular spot, but you're like, okay, so you've got like bits and pieces of me there. And then, so if you're working with another, let's say, casting director, right? You can then send those files and sell me in that way. But then if you're actually talking to the client directly, Luanne Regis (29:22.527) Yes. Yes. Luanne Regis (29:28.619) Nope, keep everything. Luanne Regis (29:43.236) Right. Anne Ganguzza (29:47.342) Which is something I'm like, well, I've not been in this process. I speak with my clients directly, but probably not on the scale that you do because you're working on a broadcast scale. So I have a client that I've worked with for years and they'll ask me, who do you think would be good to do this for me? And I can refer, which is. Luanne Regis (29:55.937) you Luanne Regis (30:00.394) Right. Luanne Regis (30:05.569) Mm-hmm. Anne Ganguzza (30:09.817) on a small scale compared to what you do. Because you're talking to big time producers and agencies that have multiple projects going on. And so for me as an actor, I never quite know what happens once I submit that audition. So it's really nice that you just kind of explain that process. And the fact that you said you don't always get to talk to the producer like you used to be able to, which is what I sometimes I assume and I don't really know. Luanne Regis (30:11.457) Yes. Anne Ganguzza (30:36.548) you know, depending on the agency, depending on who it is and what your relationships are, which I think it comes all down to relationships. But you're right, now even the producer is removed because it really comes down to like, let's say the client Walmart or whoever that might be. So that's a very good thing to know from my perspective. Luanne Regis (30:42.518) Yes. Luanne Regis (30:53.621) And I'll tell you the reason, I'll tell you the reason for that, Anne, and I want to make sure people understand this because it was a very drastic change. think the reason that I was able to, first of all, be able to pick up the phone and call a producer and they would actually book, or the producer would call me and say, who do you have for this? We need to cast this job right away. Who do you have? book David Pasquese. He'd be great. And they would hire him. So how many ever years, 10, 15 years ago when, you know, the big Anne Ganguzza (31:09.666) Mm. Mm-hmm. Anne Ganguzza (31:15.611) Mm-hmm. Luanne Regis (31:23.113) ad agencies, the DDB Needhams, the Chiat Days, you the big ad agencies, they had the bulk of the work, they had the majority of the work. And as time went by, these smaller agencies started picking up work. So the ad agency now sort of lost the power to be able to make that decision because they themselves are trying to hold on to their accounts. So they no longer can say, I can hire you for this Walmart voiceover. Anne Ganguzza (31:25.37) Mm-hmm. Anne Ganguzza (31:29.821) mm-hmm. Anne Ganguzza (31:41.527) Mm-hmm. Yes, yes, yes. Makes sense. Luanne Regis (31:49.953) they now have to check with the head of marketing or whomever at Walmart. That never used to be the case. They used to be able to pull that trigger and go, great, let's hire him. That's no longer the case. And I do firmly believe it's because of that change over in, in work, a lot of ad agencies lost clients, a lot of ad agencies are afraid of losing their clients. So they're really at the disposal at the mercy of their clients to make every single decision. Anne Ganguzza (31:52.944) Sure. Anne Ganguzza (32:20.359) That's very interesting and that really speaks to this, think also the size of the industry over the years that has really increased greatly. Luanne Regis (32:21.248) Yeah. Luanne Regis (32:25.183) Yes, yes. It has, yeah. No, it has. You've had a lot of these smaller or maybe ad execs from ad agencies sort of offshoots and go off and start their own small companies, and they're now getting the big jobs. They're now getting the big work as opposed to those big multimedia conglomerate ad agencies that they're not really getting those accounts anymore. Anne Ganguzza (32:41.616) Sure. Anne Ganguzza (32:46.544) Right? Anne Ganguzza (32:51.686) Well, and now also I think technology, mean, gosh, technology has certainly evolved over the years. And now a lot of times, like you said, you'd meet in the, and I from back in the day when I would go to a studio for a callback, and gosh, that's almost not the case too much anymore. But I miss the days when you would see all your voiceover friends in the lobby. And even though you'd kind of be a little bit nervous, you'd all be like catching up and seeing people you hadn't seen in a while. Luanne Regis (32:55.179) Yeah. Luanne Regis (32:59.188) It has. Luanne Regis (33:09.491) I know. Luanne Regis (33:14.185) Yeah. Luanne Regis (33:19.137) Yeah. Anne Ganguzza (33:21.375) And I kind of miss that. with the digital evolution and people having their home studios and the internet and I think a lot of those agencies too, mean, went online, am I not correct? Yeah, yeah. Luanne Regis (33:23.497) Yeah. Luanne Regis (33:34.943) They sure did. They sure did. Yeah, they really did. And to speak a little bit, I'm just going to hear my pet peeve about that. Again, I remember a day when ad agency would hire a studio here, hire a studio in Chicago, hire a studio where they are, and they would connect. Now that cost, because we've had a situation like the pandemic where everyone sort of had to get set up to record from home, a lot of ad agencies haven't gone back to that, gone back to hiring studios. Anne Ganguzza (33:49.52) Mm-hmm. Anne Ganguzza (33:59.366) Mm-hmm. Yeah. Luanne Regis (34:04.277) they figured out a way, wait a second, we don't have to hire a studio. We don't have to incur that cost. We can keep that budget under control and pass that cost on to the actor. That's one of my biggest pet peeves of the consequence of the pandemic where actors have now had to become engineers, incur their own costs for studios. I'm like, wait a second, you would hire a studio in New York and Los Angeles back in the day. We're like, how is that? Anne Ganguzza (34:29.489) Yeah. Luanne Regis (34:34.37) What do I know what you're doing. Anne Ganguzza (34:36.282) Yeah, and they're not necessarily, you know, claiming, I am correct in the assumption, they're not necessarily saying, well, hey, I've got a home studio. I should be charging for that studio. I should be tired. Theoretically, right, they are, but I don't know anybody that really, like, has a line item that says, hey, this is my studio cost, right? Luanne Regis (34:45.825) No! Luanne Regis (34:53.957) No, no, the actors sadly have had to fall in line, you know, and now we've gone, it's just everyone is now remote studio required, home studio required. I'm like, wait a second, you would hire a studio back in the day. I just think it's unfair because now the actor should be concentrating on his audition and he should be concentrating on the creative aspect. He should not be asked to upload stuff. He should not be asked to be an engineer in his own session. You know, it's just the way of the world now. Anne Ganguzza (34:58.35) Yeah, it got absorbed. Anne Ganguzza (35:03.504) Yeah. Yeah. Anne Ganguzza (35:23.567) It is such a luxury to be directed even in my home studio now. It's just, and it's lovely for, I will say at least they're Source Connect so that an engineer can take what I'm doing back here in my home studio and engineer it and I don't have to upload and he can just take it. That is a luxury. And also the fact of actually having a director is a luxury these days. And I love it. And I kind of wish we went back to it. Luanne Regis (35:27.403) Yeah. Luanne Regis (35:39.711) and do his own thing. Yes. Luanne Regis (35:47.198) Yeah. Luanne Regis (35:52.757) I know. Anne Ganguzza (35:53.33) And you never know, mean, maybe that will happen, maybe that will not, but I think in the end, right, is it not all driven by the customer, right, the client, like it's Walmart, like what do they want? And so ultimately, what type of voice are they gonna look for? How are they gonna hire? And I think that's something as a voice actor, we need to consider the business aspect of it, because how are we going to kind of shine in front of all of... it seems like obstacles, maybe not obstacles, but there's so many paths to getting hired these days, you know, and yeah. Luanne Regis (36:28.031) Yes, there are. And let me go back to a question you asked earlier about what happens when that audition goes off. And it's really important for actors to understand, because you don't book a job, that doesn't mean you weren't on a short list. That doesn't mean that you weren't listened to and someone was vying for you and that just, the client or whomever came in and said, no, let's go with a woman instead of a man. doesn't, you have... Anne Ganguzza (36:53.264) Mm-hmm. Luanne Regis (36:54.205) I have no idea what happens once it leaves my, you know, my coffers because no one says anything. And then you get on a short list and you have one of five on a short list and that's great, you're excited. And then it just goes away. But for me, that's a win. Like someone listened to you and someone put you on a short list and someone considered you for this job. And even beyond the short list, you don't know who listened and went, wow, I really like him. You know what I mean? It's like, there's so many. Anne Ganguzza (36:57.574) Mm-hmm. Anne Ganguzza (37:08.42) Yeah. Mm-hmm. Anne Ganguzza (37:20.496) Sure. Yeah, yeah, yeah. I love that you brought that up. Mm-hmm. Yeah. Luanne Regis (37:23.837) intangibles and actors need to understand that just because you didn't book a job doesn't mean you weren't right for it. They could have changed their minds, changed the specs, changed the age, changed the gender. All of those things sort of are out of your control. Anne Ganguzza (37:36.432) Yeah. Anne Ganguzza (37:39.791) Yeah, there's so many aspects that are out of your control. And I think that's one of the most important things that a voice actor can also do is try to understand that and not let the mental, like, my gosh, I don't know what happened, or I'm not good enough, or that self-sabotage, get to them. And I think that's one of the biggest challenges that a lot of voice actors face is imposter syndrome that, because they didn't hear anything, they assume, right? Luanne Regis (37:53.119) I know. Yeah. Yeah. Luanne Regis (38:00.788) It is. Luanne Regis (38:06.399) Yeah, that's right. And by the way, that's another aspect of my job as an agent, to sort of manage their expectations and manage their disappointments. I had an actress tell me last night, she said, you know, I'm really just very dejected and sort of tired and fatigued with these auditions. I haven't had a callback, I haven't had this, I haven't had that. And for me, you know, I need to... Anne Ganguzza (38:15.171) Mm-hmm. Anne Ganguzza (38:19.792) Mm-hmm. Luanne Regis (38:32.841) I do need to boost her up, at the same time, I do need to understand her frustration and it's real. So, you know, my job there is to sort of maybe go, okay, let me reevaluate, reevaluate, excuse me, what I'm sending her. Maybe I'm not sending her the things that she's really gonna nail because at the end of the day, as an agent, you don't want to keep sending an actor hundreds and hundreds and hundreds of auditions and they're not booking because that debilitates them. Anne Ganguzza (38:38.63) Mm-hmm. Yeah. Luanne Regis (39:02.207) So part of my job is almost like a therapist of sorts. It's sort of like manage how they feel. Okay, let's do this then. Let's sort of reevaluate what we send you. Let me pull back a little bit so that you don't feel burnt out. How can I help you? Because obviously I believe in her. I don't want her to just go silent and not do auditions, but I have to kind of hold her hand along the way. Anne Ganguzza (39:06.086) Yeah. Yeah. Yeah. Anne Ganguzza (39:26.727) Right, Sure. Luanne Regis (39:30.187) That's another aspect of the voiceover agent's job, at least mine. Anne Ganguzza (39:31.706) Yeah. Yeah. I love it. this has been such a wonderful conversation, Luanne. thank you. Thank you. Well, it's been a pleasure. And I'll tell you what, I cannot wait to have you as a guest director for my group, for my VO Peeps guys. So make sure you take a look for that coming up soon. Luanne Regis (39:37.824) I love your questions, the way. Your questions are very pointed. Luanne Regis (39:47.711) Yes, I cannot wait. Yes. Luanne Regis (39:54.08) Yes. Anne Ganguzza (39:55.916) And with that, I will give a great big shout out to our sponsor, IPDTL. You too can connect and network like bosses. Find out more at ipdtl.com. Luanne, this has really been amazing. Thank you so much. It's been a pleasure. Luanne Regis (40:08.373) Thank you, Anne, for having me. I really do love talking about this stuff. Anne Ganguzza (40:13.146) Bosses, have an amazing week and we'll see you next week. Bye. Luanne Regis (40:16.033) Bye!  

BOSSES MEET BARBIES POOL PARTY PROMO UPDATE BY DJ DELLON DI HOTSKULL & BIGPAPA by OneVoiceFamilySoundSystem

Kylie wants to confirm with The Mess that her boyfriend Tony is cheating after she caught him holding hands with his coworker. JD is on a rampage arguing that being a dog dad is harder than being a parent to a human child. Morning Messengers are calling him out on this opinion. Follow us on socials! @themorningmess

In this insightful and engaging episode of The Boss Lady Podcast, we flip the script! Today's guest, Don Grinstead, shares his firsthand experiences working under strong, successful female leaders. From the leadership styles that made the biggest impact to the lessons he's carried into his own career; this conversation explores the power of women in leadership from a male perspective.What You'll Learn in This Episode:✅ The unique strengths of female bosses and their leadership styles✅ How working with women in leadership has shaped Don's career and leadership approach✅ Common misconceptions about female leaders—and the reality behind them✅ How men can be allies in fostering inclusive and empowering workplaces✅ Personal stories of mentorship, growth, and career-defining momentsWhy You Should Listen:Whether you've worked with powerhouse women or are looking to build a stronger, more inclusive workplace, this episode offers fresh insights on leadership, collaboration, and breaking down gender-based workplace barriers.Join the Conversation:

A study shows over 65% of people have bosses that make the work environment worse, and you'll soon hear that we advocate over 1/3 of those people should straight up quit their job. Swearing ahead.  Welcome to the Just Dumb Enough Podcast. A show that acknowledges no one is always an expert, by dispelling misconceptions with real experts.  My guest today is Rob Kalwarowsky. Rob is the go to when your workplace sucks. His upcoming book "Antidote for the Asshole Boss" is a great resource for all of you out there who need to either reform your job environment or quit. And obviously, neither Rob nor I know your situation well enough to truly advise you; but maybe this is the push you need if you're on the edge and considering other options. Also, sorry this episode is late, but I had a family emergency; and family will always take precedent over my release window. ( Www.MagicMind.Com/Dumb20 )  ( Www.RobKalwarowsky.Com )  ( https://youtu.be/1okVCyCJjdw?si=HzLl1Ok0ANbC1kW5 "How to Handle a Bad Boss | Rob Kalwarowsky")    Let's figure out how much our boss is killing us.   So, are you one of those people suffering with an asshole boss? Or are you perhaps your own asshole boss? Either way, I hope you find your way to a better work/life balance. In other news... March is rolling on, and here the rankings are strange:  1. Hong Kong... Huh, Neat.  2. England of the United Kingdom.  3. The United States, with Missouri, Washington, and Georgia at the top.  4. Australia, with Western Australia at a lead.  5. Canada, almost being beaten by Myanmar and Turkey.  That's it for this week! Have a great week, a great weekend, and I'll see you all back here next week for another new episode!  Until the next episode, pretty please do all the things to help the show: rate, review, like, and subscribe.  Reach out to DumbEnoughPodcast@Gmail.Com or on any social media if you want to reach me personally.  Most importantly, Stay Dumb! 

The Portland Mercury's Spring Arts Guide focuses on the alliances that artists and arts organizations are forging throughout the city. Between the rising cost of living and the craziness of our national politics, Portland's creative communities are finding a need to rely on one another more than ever for survival — even when they're competing. Portland Mercury culture editor Suzette Smith walks us through some of the season's best events and the communities behind them.  Discussed in today's episode: The Antipodes at Shaking the Tree Theatre through March 29 Literary Arts Bookstore Mother Foucault's Bookshop Monet's Floating Worlds at the Portland Art Museum through Aug. 10 ja' / buuts' / t'aan (Water / Smoke / Word) at the Portland Institute for Contemporary Art through May 31 Become a member of City Cast Portland today! Get all the details and sign up here.  Who would you like to hear on City Cast Portland? Shoot us an email at portland@citycast.fm, or leave us a voicemail at 503-208-5448. Want more Portland news? Then make sure to sign up for our morning newsletter, Hey Portland, and be sure to follow us on Instagram.  Looking to advertise on City Cast Portland? Check out our options for podcast and newsletter ads at citycast.fm/advertise. Learn more about the sponsors of this March 13th episode: D'Amore Law Portland Bureau of Transportation Learn more about your ad choices. Visit megaphone.fm/adchoices

Mark Mix, is President of the National Right to Work Committee which is a 2.8-million-member public policy organization. He also serves as President of the National Right to Work Legal Defense Foundation. Trump Battle vs. Union Bosses Rages On

PREVIEW: Colleague Bill Whalen of Hoover, former speech writer, recommends POTUS Trump use a series of big speeches to establish policy, including a speech to Parliament as did Ronald Reagan when announcing opposition to the Soviet bosses. More later. 1880 PARLIAMENT

Go to www.LearningLeader.com for full show notes The Learning Leader Show with Ryan Hawk Notes: “I sensed something was terribly wrong when I dialed into the conference line at 8:00 a.m. and heard an unfamiliar voice. “Hi, Mel ody, I'm Janine. I'm with an external HR firm. Unfortunately, this call is to let you know that your employment has been terminated, effective immediately.” Managing up is not kissing up. Managing up is strategically navigating relationships with those who have more positional power than you, namely your boss. It's a critical skill set for maneuvering through the complex web of power dynamics, conversations, and unspoken expectations that shape our daily work lives. The triple win – What is something you can do that is good for you, good for your boss, and good for the company? Focus on those issues and solving those problems, and good things will happen for you as you grow your career. Like Carly Fiorina. Run towards the fire. Solving those tough problems will help you, your boss, and your company Meeting with a CEO. Connect what you did with what matters. Adapt your communication to that. Have upward empathy. Put yourself in their shoes. What matters to them? Prior to the meeting, meet with their Chief of Staff. Anticipate objections and answer them before they are asked. Create a one-pager for your boss when they are doing your performance review. Highlight your wins. Remind them. Make it easy on them. Do what Lee Rivas told me to do. Every week, send an email with bullet points for all the things you did to help your boss and the company. For the one pagers - be proactive, start with wins, results and outcomes. it's not self-promoting; it's informing. Identify 1-3 key areas where you need their support. Help them become a trusted advisor or partner. Design your 1:1. Send them the topics to talk about so you can drive those discussions. Make their life easier. They have enough other things to worry about. Feedback can only happen after alignment, styles, ownership, boundaries... They go in order. Define your A B Cs Assumptions, Behaviors, Change you want to see The advancement conversation - Be open, and share what you want to do and how you can get there. My Dustyn Kim example and how I messed it up. The Money conversation - You don't get a raise just because time has passed. It has to be tied to results. Don't talk about the past and what you've done. Talk about what you can do to earn the company more. Don't do the "I deserve this" thing. Bosses hate that. Managing up is not kissing up. Managing up is strategically navigating relationships with those who have more positional power than you, namely your boss. It's a critical skill set for maneuvering through the complex web of power dynamics, conversations, and unspoken expectations that shape our daily work lives. Everything changes when you understand the art and science of influencing others while keeping your own emotions and insecurities in check.  “Managing up isn't really about making your boss's life easier. It's about taking control of your own work experience.” 10 Key Conversations: The Alignment Conversation How can I get in my boss's head to understand their needs, motivations, and goals? The Styles Conversation Will I earn more respect from my manager if I get to the point quickly, or should I try swapping stories and building rapport?  The Ownership Conversation How can I solve the problems that make my job frustrating? How can I seize opportunities without stepping on toes? The Boundaries Conversation How do I say no and push back with tact when my manager saddles me with yet another task? The Feedback Conversation How can I respectfully and effectively give my manager feedback in order to improve processes and communication? The Networking Conversation How can I build other allies in the workplace? How can I turn day-to-day interactions into opportunities that open doors? The Visibility Conversation How can I effectively advocate for myself and show off my strengths? The Advancement Conversation What do I need to do to get to the next level?  The Money Conversation When is the right time to negotiate salary? How can I make sure I am getting the compensation I deserve? 

Plus: Chinese buyers get around U.S. export controls to order Nvidia's latest AI chips. And, Shell explores the potential sale of its European and U.S. chemical assets. Luke Vargas hosts. Sign up for WSJ's free What's News newsletter.   Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of The PDB Afternoon Bulletin:   First, an explosive confrontation between Presidents Trump and Zelenskyy that played out in front of the world today. What started as a meeting for a major deal quickly turned into a heated exchange—and it didn't end well for anyone. Later in the show, as Mexico extradites nearly 30 high-level cartel leaders and members to the U.S. under threats of new tariffs from the Trump administration, we are learning of a covert CIA drone program being used in Mexico to help hunt down major drug kingpins.   To listen to the show ad-free, become a premium member of The President's Daily Brief by visiting PDBPremium.com. Please remember to subscribe if you enjoyed this episode of The President's Daily Brief. YouTube: youtube.com/@presidentsdailybrief Learn more about your ad choices. Visit megaphone.fm/adchoices

Megyn Kelly begins the show by discussing Rachel Maddow implying her MSNBC bosses are racist after Joy Reid firing, smearing the executives while displaying her sanctimony and self-righteousness, how out-of-touch she is while she makes $25 million a year, the truth about why MSNBC is losing viewers and money, and more. Then Batya Ungar-Sargon, The Free Press columnist, joins to discuss how elitist Maddow is, her $25 million salary and multiple mansions, the shift in the Democratic party away from the workers toward the credentialed class, rich Hamptons residents complaining about their workers being deported in an insane New York Times story, why leftist elites want to exploit illegal workers for cheap labor, Joy Reid's meltdown over her canceled show, her past mocking of “white tears” and outright racism that took place on her show, Elon Musk's role in the MAGA movement, and more. Then Annemarie Wiley joins to discuss her exit from the Real Housewives, visiting the Trump White House, why liberals are leaving the Democratic party over protecting women in sports, the outrageous and demeaning language coming from leftist elites like “inseminated person," and more. Then Marcellus Wiley, host of "Hydration Situation," to discuss the biological and scientific reality of men and women, why it's so problematic for biological men to play women's sports, the way the culture has shifted on this issue, and more.Ungar-Sargon- https://www.amazon.com/Second-Class-Betrayed-Americas-Working/dp/1641773618Annamarie- https://www.instagram.com/annemariewiley/Marcellus- https://www.youtube.com/@marcelluswileydatdudeHome Title Lock: Sign up at https://www.hometitlelock.com/MegynKelly and use promo code MEGYN250 for a FREE title history report AND access to your Personal Title Expert —a $250 value! Check out the Million Dollar TripleLock Protection details when you get there! Exclusions apply. For details visit https://www.hometitlelock.com/warrantyWe Heart Nutrition: Go to https://WeHeartNutrition.com/MEGYN for 20% offFollow The Megyn Kelly Show on all social platforms:YouTube: https://www.youtube.com/MegynKellyTwitter: http://Twitter.com/MegynKellyShowInstagram: http://Instagram.com/MegynKellyShowFacebook: http://Facebook.com/MegynKellyShow Find out more information at: https://www.devilmaycaremedia.com/megynkellyshow

B saw the most niche reality show ever... also let's talk about whether to unfollow your ex. PLUS: Are you a Roomba at work? Bosses hate it.See omnystudio.com/listener for privacy information.