Podcasts about bosses

Former submarine commander David Marquet joins EconTalk's Russ Roberts to explore how distancing--thinking like someone else, somewhere else, or sometime else--can unlock better choices in business and life. They talk about leadership without giving orders, how to empower teams, and what it means to see yourself as a coach rather than a boss. Along the way, they discuss Jeff Bezos's leap to start Amazon, Steve Jobs' unique vision, and how a simple mindset shift can transform a struggling crew--or your career. A conversation about thinking clearly under pressure, avoiding regret, and becoming the kind of leader who creates other leaders instead of followers.

People don't quit jobs - they quit bad bosses... OR DO THEY?!? We had so many untouched debate points from our first episode that it would have been a crime - A CRIME - to throw it all away. So we decided to do a part 2! That's right, we're back and Brian tries to make his argument with all new points - are we blaming individual managers for systemic failures? Listen or watch as we (Product Manager Brian Orlando and Enterprise Business Agility Coach Om Patel) debate all new points and explore how broken systems may create the very behaviors we blame individuals for, including:The Stanford Prison experimentToxic performers "too valuable" to fireHR's role in systemic issuesThe theater of data without actionGenerational workplace differencesThe cost of fixing systemsRevolution vs EvolutionWhether you're in software development and dealing with impossible commitments, a team lead navigating toxic culture, or an executive wondering why your engagement surveys aren't fixing anything - this conversation just might challenge how you think about your workplace dysfunction.#ArguingAgile #WorkplaceCulture #SystemsThinkingLINKSWatch on YouTubeYouTube https://www.youtube.com/@arguingagileSpotify: https://open.spotify.com/show/362QvYORmtZRKAeTAE57v3Apple: https://podcasts.apple.com/us/podcast/agile-podcast/id1568557596Website: http://arguingagile.comINTRO MUSICToronto Is My BeatBy Whitewolf (Source: https://ccmixter.org/files/whitewolf225/60181)CC BY 4.0 DEED (https://creativecommons.org/licenses/by/4.0/deed.en)

BOSSes, Anne Ganguzza and Lau Lapides join forces in this episode of the VO Boss Podcast for another installment of their Boss Superpower Series. They tackle a topic often considered taboo in the voice acting industry: voiceover as a hobby. This discussion explores whether pursuing voice acting without the pressure of a full-time income carries a stigma. The episode delves into concerns about hobbyists "taking away" jobs, examines the true meaning of commitment, and highlights how to embrace a voiceover journey for pure creative joy, whether it's a primary career or a cherished passion. Listeners will discover why being a BOSS means defining success on one's own terms. 00:01 - Anne (Host) Hey guys, it's Anne from VO Boss here.  00:03 - Speaker 2 (Announcement) And it's George the Tech. We're excited to tell you about the VO Boss. Vip membership, now with even more benefits.  00:10 - Anne (Host) So not only do you get access to exclusive workshops and industry insights, but with our VIP plus tech tier, you'll enjoy specialized tech support from none other than George himself.  00:21 - Speaker 2 (Announcement) You got it. I'll help you tackle all those tricky tech issues so you can focus on what you do best Voice acting. It's tech support tailored for voiceover professionals like you.  00:32 - Anne (Host) Join us guys at VO Boss and let's make your voiceover career soar. Visit voboss.com slash VIP-membership to sign up today.  00:43 - Speaker 3 (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.  01:02 - Anne (Host) Hey, hey everyone. Welcome to the VO Boss podcast. I'm your host, Anne Ganguzza, and I am here with the Boss Superpower Series with the one and only Lau Lapides.  01:12 - Lau (Guest) Hey, Anne.  01:13 - Anne (Host) And Lau 01:14 - Lau (Guest) Love being here, as always. Love it, oh, Lau, it's so good to see you. What would a Saturday be without being in the booth with Anne?  01:22 - Anne (Host) Really, I know, right, I mean it would not be a Saturday, I know right it wouldn't, but sometimes on Saturdays I have other hobbies that I like to do, actually, because now it's actually horse show season and every once in a while I have to go out of the studio and go watch my horse shows, because back in the day.  01:39 - Lau (Guest) I used to own a couple of horses and that was like a passion and a love of mine.  01:46 - Anne (Host) Are you a derby girl? Do you get into the Kentucky Derby? I'm not a derby girl, I'm a horse show girl, a jumper. So, yeah, I mean, I can watch a race, but I'm much more enthralled by watching horses jump over things.  01:56 But speaking of hobbies and alternate passions and other passions we talk about voiceover as a full-time career all the time. Passions we talk about voiceover as a full-time career all the time, but there's a taboo topic about voiceover as a hobby. Maybe we should discuss that, laura. How do you feel about that? Is there a stigma around voiceover as a hobby in our industry?  02:19 - Lau (Guest) I think there is and it took me a while to actually let it come to the front of my brain that that was a real thing that people were distancing themselves from the notion of well, I'm in it to win it. I have to do it full time, I have to make a living and I have to do it like now, and the options are really there on the table for you, whether you would call it a full-time or full-time contractor position, whether it's a part-time and fills the holes in your schedule, in between your other lives, or whether it's a hobby, something creative, something joyful, something you love to do, but it's really not about money.  03:01 - Anne (Host) Well, okay, so let's just talk about the elephant in the room, right? Those that do voiceover as a hobby, right, could potentially be seen as taking away jobs from those people who do this for a living. And so those are the people that I think I see other people talk about them in different groups and Facebook groups and forums about how, oh, are you doing voiceover for a career or a hobby? Because if it's a hobby, then poo-poo, and so there's usually kind of a look of disdain upon those people doing it as a hobby. But I like how we're entertaining the thought of it because, I mean, there's lots of reasons why you want to get invested in voiceover, and not all the time is it to make tons of money and pay the mortgage. I mean, sometimes maybe you're in retirement and you just want a creative outlet, or maybe not even retirement, you just want a creative outlet. And do you feel, Lau, that this is taking away jobs from those of us who do it full time? What are your thoughts on that?  04:01 - Lau (Guest) No, in fact I got to be honest with you, Anne that didn't even come to my mind. It didn't come to my mind because I feel like best person wins the game.  04:10 And if you're in the game to win it and you're serious about it, there's going to be work for you, there's going to be jobs for you. To think about people who are not earning money or living as taking away your work to me is very strange, because it's like, well, it's a capitalistic market. It's like I have to train, I have to have my tools in place, I have to have my protocols and etiquette, I have to know everything that I can know to compete. But can I control the market? Can I control who's in the market? No Right, absolutely. That's true of every industry. I mean, how many times? Let's be honest.  04:43 - Anne (Host) And that's a really good point, laura, wait, wait, I got an honest point for you.  04:46 - Lau (Guest) How many times and listeners, be honest with yourself have you had a problem with your light bulb and your Uncle Harry, who's a retired electrician maybe, is going to fix it for you? Okay, well, you say, of course, let him fix it, sure. Well, he said, of course, let him fix it, sure, I don't even have to pay him. That's really great, wonderful. Well, the reality is is he took away a job from an electrician who's on the market right now. Who would love to get that job? Sure. But the reality is it's like we're built on relationships. We're built on the history of knowing people.  05:19 So not everything is going to be about a competitive job.  05:21 - Anne (Host) Such a great point. I mean and we talk about it in casting all the time I mean, sometimes they choose to go a different direction. Well, what is that other direction? Well, maybe their niece or nephew does voiceover, or maybe it's a friend of theirs that wants to give it a shot, and so, in reality, we don't really have control over that aspect of it. As to the decision of the casting, Again it's like who gets the job?  05:46 I mean is it always the best that gets the job? No, not really. No, sometimes it's just the most convenient or the one that's the cheapest.  05:53 And that is not necessarily our decision or under our control, so I love that you brought that up. I'd like to discuss the fact that I've had students who have tried voiceover and they've tried different genres. Of course you know I have specific genres that I work on and they've decided. You know what. I'm not so sure that voiceover is for me because they find out maybe it's not quite as enjoyable as they thought, or maybe I'm given homework, so maybe they're like I don't want to do Anne homework, so you know what I don't think I'm going to do voiceover anymore, but sometimes you don't know until you explore the path of creative journey.  06:29 - Lau (Guest) You just don't know.  06:30 - Anne (Host) And then all of a sudden, it's like you know what? I don't love it as much as I thought I was going to and therefore, maybe they have a great voice and we would be, maybe, as coaches, saying oh my God, you have a fabulous voice and you're natural at it and maybe they're just like you know. Okay, if I get asked to do it, so I mean there are all sorts of reasons.  06:47 - Lau (Guest) It isn't an all or nothing type of a trade. And besides, if you equate it to any other arts that are out there, like, does that mean I can't paint a painting without selling it? Does that mean I can't create a pot without selling the ceramics? Does that mean I can't dance without getting a job at dancing? It sounds kind of silly when you put it that way, but a lot of us consider it not just a trade but an art form. So to do it as an art form for the creative force of strengthening your voice and communicating and doing all the things that we do in voiceover, I think it's a missed opportunity to not do it because you think it is only meant to be a job and make money. It's also an art form.  07:31 - Anne (Host) And again, yeah, I'm a big believer about it's all about the journey, really not about the end point. Sometimes there's a lot of self-discovery in voiceover because it is a creative. Actually, I think all jobs are creative for the most part. Or they can be made creative or they can be thought of as creative. You can construct them as creative if you want, and so some are just a little more. I would say they lean more towards the creative field where you have more freedom of it. But I think a lot of times it's a journey and that's a wonderful journey to be on. I think we all go through some sort of a creative journey in our lives.  08:08 Absolutely and this is one that can really help you get in tune with yourself, because it is something that is directly in tune with ourselves, our voice.  08:17 - Lau (Guest) Yeah, and not only is it a fun challenge, but it is just that it can be just pure fun. If you get in the booth and you're doing, let's say, an animation character and you love character work, you may be doing that for the sheer benefit of doing it, the process of doing it, sharing with others that you've done it, listening back, enjoying the fun factor of it. You may or may not book that, that may or may not be a job for you, but it is part of that. You used the word journey that you can really have in yourself for other things Like what if you're a teacher? What if you're an educator? What?  08:53 if you are someone who is, or a therapist, or even a doctor, well, you would take these pop moments in your life and you can use them as part of your story, to connect with your audience, to connect with your customers, whoever they are.  09:09 - Anne (Host) Absolutely, and you know our journeys as we go along and I talk about this frequently is I use every part of my life experience in voiceover, and so voiceover is also a part of my life experience, and so I can use that in many ways other than just voiceover. I can, just as you mentioned, to be a better communicator, to really learn more about myself and to evolve, and so I really think that voiceover as a hobby is absolutely something we can entertain. And hey look, who's the pot calling the kettle black? Is that the phrase?  09:40 I have lots of different divisions of my business because I follow lots of different passions and that doesn't mean that voiceover is part-time for me. I mean, my main function here is voiceover. But there are lots of passions that I follow and, for example, my little foray into fashion. There's lots of fashion influencers out there that do it full-time. That might think, oh, who's this girl? Every once in a while I see a post from her and she's not really a fashion. I don't even like to say the word influencer. I just say I want to share my passion for fashion and hey, if I can make a little side income that's cool, but if not, it's not a big deal. I love the creative aspect of curating outfits.  10:19 - Lau (Guest) To me, what it comes down to is the gestalt of how much just as human beings, unfortunately we still love labeling.  10:26 We're very much designer in that way. We want to label people. We want to label what they do, what they have, what they are. We want to type them quickly so that it's easy for us to know oh, this is the girl that does that, this is the guy that does that, whatever. And the labeling can be very detrimental to us, because I see this all the time, with new voiceover talent coming in and actors coming in saying, oh, but this coach told me I need to do that and I need to be invested in this way and I need to be put in this net. And I said well, wait a second.  10:57 That is someone's interpretation of what this career is, based on their own subjective frame of reference. It has nothing to do with you. You've got to figure out your life. You've got to figure out your level of commitment, how you feel about it. In copy, we call it point of view. What's your point of view about this? It's sort of like we want to come in and it makes it easy for us if someone can label us. If they can label us, then we can follow the cookie cutter path of what we're supposed to do. But it's not that kind of career. Artistic careers are not that kind of career.  11:33 - Anne (Host) And again along those lines, is there a path to being a part-time voiceover talent? Is it a requirement that they get training, that they get a demo, that they do all of those things? That typically what we would suggest and recommend that they do for full-time?  11:49 - Lau (Guest) I honestly don't think anything is a requirement. I think it's only a requirement if you're trying to reach a particular level of your craft or career, and then you kind of have to do the due diligence of research. Oh well, if I'm going to use this as a career, then I know I need a demo of this kind. But if I'm not, if that's not my objective and I'm honest about that, I feel really good about that I may or may not need that, I may or may not. Right, it's a different level. I mean, a hobbyist has a different level of everything compared to a professional, sure, and the expectations can be very different as well.  12:26 - Anne (Host) Well, I'll tell you something that my level of commitment to back. When I was younger, riding horses right. It wasn't a job for me. I wanted it ultimately someday to be a job.  12:36 - Speaker 2 (Announcement) You loved it, but I loved it.  12:38 - Anne (Host) I followed my passion and I spent hours. I mean hours and hours and hours. I mean thousands of hours, tens of thousands of hours riding and practicing, and so I don't think you can put a label on oh, you're part-time, so it's a DIY demo. They're not training, they're getting their instruction on the internet. I hear a lot of talk like that and it's really it's negative talk. I'd like to say hey, guys, if you want to explore voiceover, if you have other passions that you want to pursue and you just want to do voiceover part-time, it's absolutely okay. There's no straight path to get there. There's no. You have to do this, you must do this to become a part-time voiceover talent. There's only recommendations on what might work for your journey to evolve and to get better.  13:24 - Lau (Guest) Absolutely. I think that's true of probably every profession that's out there. I think it applies to anything that you want to do. It's like as you move up the ladder, as you go level to level, you learn more about what the expectations are, what the industry standards are, what your competition has and utilizes to book work. But to come into it and to have this false or artificial notion of, oh, I should be doing this, I want to be, that Everyone told me I should be doing this. Well, listen, do you want to be in the cool kids group? Do you want to be in the cool clicky? You know everyone is cool or do you want to be true to yourself?  14:04 - Anne (Host) Right Like do you want to be?  14:05 - Lau (Guest) literally true to your own voice is the question. Yeah, absolutely. You can have many experts and professionals helping you along the way, but it's not about being in the cool kids club.  14:15 - Anne (Host) Yeah, and you know, what's so wonderful about that is that it's freeing, right? If I think about my alternative hobbies, that I do, right, I don't care what people think about me when I'm doing my hobby, I mean, and that allows me to experience more joy. I think Sometimes, oh, I've got a dedicated path to a full-time career and therefore here's what I should do in order to achieve that path, and then I can be judged. But when I decide I'm going to just do this for my own fun, for the creative journey of it, guess what? I tend to not think about what other people think of me and that, oh my gosh, as full-time voiceover talent, if we could, as actors, if we could just employ that attitude where you don't necessarily care what other people are saying about you, especially if it's negative, then I think that's a wonderful thing.  15:03 - Lau (Guest) You know, it brings us back to kids being kids, and like I don't mean kids at 10. I mean no, I mean younger, I mean like the under five crowd. It's like they're just not aware of what someone else thinks in regards to their playtime.  15:20 They're so invested in their imagination and their moments in their mind that they can shift and pivot to. I can be a king, I can be a dog, I can be a truck, I can be right, Like the possibilities of the magic. What if right? I can be anything I want to be and I don't have to worry about the outcomes of it, Like we're not into outcomes yet at that stage of the game. If we could have a moment of going back to that and just honestly play and be present and enjoy those moments without worrying about the outcomes, what people are saying, what people are thinking, then you're really going to free yourself to do your best work, yeah.  16:00 - Anne (Host) It just makes me think of like the judgment sometimes that I see that has passed on a part-time voiceover or voiceover people that are not necessarily studying under a coach or they're doing their own demo or they're auditioning for jobs that pay low. And if you're doing it as a hobby and typically if it's a hobby you're not always needing to make money from it. It's really just again, it's your creative expression, it's your enjoyment, your joy. You're not necessarily having to make a huge salary off of it. So then we kind of get to the point where, okay, are they bottom feeding the market? Are they bringing down the value of what it is that we do? Full time Lau.  16:44 - Lau (Guest) I don't know how to answer that, because I think the world is so large. Do full-time Lau? I don't know how to answer that, because I think the world is so large and the compartmentalization of all the different genres, all the different budgets, all the different potential clients are vast. They're huge. So I don't think there's one answer to that.  16:59 One of the biggest problems that I see as a coach is people coming in who are really hobbyists, who are treating it like they're going to make a living at it and really starting to unpeel the onion and decipher. Well, wait a second, can we be honest about this? This is not your career. Why? Because I'm looking at the time you commit, I'm looking at your level of investment, I'm looking at your strategy. I'm looking at your strategy. I'm looking at your talent. I'm looking at all these things that are the pivotal markers of a career person.  17:33 Right, they're not there yet. You're still in hobby mode. Do you realize that? Right, like, well, wait, can't I write this off on my taxes? Can't I get all of that? I said yes, if you work. Yeah, yeah, absolutely yes. If it becomes a business for you, have income against it, right? So I think the bigger issue in my mind not to divert away from your original question, but the bigger issue is that gap in people's minds between what they think they should be doing and want to be doing and what they're actually doing. And what they're actually doing quite oftentimes is what a hobbyist would do.  18:09 - Anne (Host) And then there's a lot of people I know that are like well, I want to be able to pay for my investment. So if they're coaching or if they're, even if they're doing it part-time and they're going to get a demo, they're like, well, I want to work so I can pay for this demo. And that is where I think that gray area is, because it's difficult for people unless they have a certain level of talent that's just innately without coaching or without having a great produced demo, because, you know, I always put my stamp of approval on that, you know, being transparent as a coach and demo producer. But there's a lot of people who don't necessarily. They want to be able to work so that they can pay for their investment in their hobby, because hobbies can be expensive, right, hobbies can be expensive.  18:55 - Lau (Guest) Exactly, exactly. But I asked the question and I always put it in another context because when you're too close to something, you oftentimes can't see it right. So if I say, okay, that makes sense. Now, if you're going to become attorney and you're going to be in Lau school for three or four years, why don't you work as an attorney and make the money so you?  19:14 - Speaker 3 (Announcement) can pay for Lau school. They say well, that's kind of crazy.  19:17 - Speaker 2 (Announcement) They're not going to let me do that.  19:18 - Lau (Guest) I haven't passed the bar. I don't have any credits. I said right, Are you going to work as a dentist as you go through dental? It's the same thing, Exactly.  19:27 - Anne (Host) That mindset, that's a great analogy.  19:29 - Lau (Guest) I'm like this should be easy for me to do. I should be able to get it so I can pay for my coaching. Say no, the investment in the education comes first. Yeah, and then you go out and look for the work, yeah, and it's like any good hobby.  19:41 - Anne (Host) I mean gosh, so many hobbies I had. But when, I think about when I was a young girl riding horses right? Well, I had to pay for my lessons, I had to pay for my own saddle, I had to pay for my riding outfit, I had to pay entry fees into the shows that I was competing in, and so my hobby was competitive. My hobby was I really dove deep and it was expensive, and my parents didn't let me forget that. But, I was so fortunate.  20:08 - Speaker 2 (Announcement) I always tell people.  20:08 - Anne (Host) well, I worked at the stable so I could work off my lessons, and so that took care of maybe a portion of the payment.  20:15 But my parents knew that I was invested because I was like, oh, and I spent all my time at the stables. I mean I shoveled enough manure to get some good background and investment into my passion, yeah. But I mean, in reality, I mean I invested as much, if not more, I think, into my hobby and then kind of knowing, when I got old enough to go to college, well then I had to go study for a real job.  20:39 But times have changed now right A little bit, so it's just gotten to the point where I love that I've always been able to follow my passions. Not everybody is there at a young age or can follow their passions throughout their life. I've always been fortunate, I think, that I've had this kind of gut to follow my passions in lots of different ways and figure out how I can still pay the bills while I do that, but you were very always pragmatic in understanding that you needed a survival job, exactly you needed to be hustling throughout.  21:09 - Lau (Guest) So, whether it was in your field or whether it was something totally unrelated, that was like a given to you. You were taught that you understood the work ethic of that, so that, I think, separates the hobbyists from the professionals in that.  21:22 - Anne (Host) But the good thing is is I feel like I have always been able to follow a passion where the money can help me pay the bills. And so, however, I fixated on that passion, like, for example, I was good at school, right, so I went to college and I studied engineering because people told me I should, right, but then I got into a job where I was designing creative, three-dimensional artificial hip and knee prostheses, and that creative like, oh, I got to be an engineer and that creativity was like it was my passion, right, following a creative, following something that allowed me to be creative and then ultimately getting into teaching.  21:58 After that right, sharing my love of I'm so excited about this, let me share it. And that was following that passion. And then I was able to teach. And so I think there are people at different stages of their life that all of a sudden say, oh, I need a creative outlet. Where they haven't really looked at where is their creative outlet now.  22:18 And I think people always have a creative outlet. They just don't expand upon it if they can or think about it in terms of it being a creative outlet. But at any given stage of life they get to a point where they say I want to be more creative. That's the majority of people that come to me that say they want to learn voiceovers. Gosh, you know, I'm just looking for something. I hate my job or I'm just looking for something that allows me to expand my creativity and that is following a passion. And at whatever stage you're at the passion and at whatever stage you're at, I don't think it matters whether you decide to do that full-time or part-time. It is a journey of creative experience for you.  22:52 - Lau (Guest) Yeah, I just think one of the bigger mistakes that I see happen and it happens all the time as I meet people is that they mistake the idea that they can quit their day job and leave their life and leave everything and just become a full voiceover.  23:06 Talent and as a contractor. It's just not going to happen that way. It really just isn't. It's not going to happen as any kind of a contractor, let alone this kind of. So you really have to be honest about that. And, like I, have a talent who has worked for a company, an insurance company, for like 10 years or a long time as their spokesperson, as their voiceover. She does nothing else. She does nothing else. She does nothing else. She just had a baby. She'll probably have another baby. She aspires to do more, but in my heart of heart I know she won't. I know she won't because when she hits the level of time and energy that it would take to do that, she stops. She can't go past that and I say be happy, be happy, be fulfilled, be okay with that. If that's what you can do and what you want to accomplish, don't keep pushing for the moon and the stars when the reality is is you're not wanting to really do the work to get to the moon and the stars.  24:05 - Anne (Host) I love that you say that, because some people don't realize it. Some people don't realize it that they don't want to do the work and they say they want to and they, but they don't. But they really don't, they really don't. And here's the deal, guys. I mean, I got out of a corporate job, right. I got out of it and you think oh, it's going to be easy.  24:23 Right, this should be easy. Now, if you're performing and you're being the actor and it feels easy to you because I want to make a distinction here and it feels easy, well, you've probably put in the hours and you're definitely in that moment where you are acting and it seems like it's easy. But in reality the amount of hours you had to put in probably to get there may or may not have been easy. That's right. When it becomes easy and it feels good, then you know you're in that creative moment right where you're expressing your creativity. But to get to the moments where you can do that more often than you have to actually run the business because we talk about that's the work.  25:02 A lot of the work that has to go into it is the business aspect of it, which is why we have this podcast right. There's the whole business aspect, which requires more work than I ever put into my corporate job and I put in a lot of work in my corporate job. I worked three jobs, probably overtime, but I put more work into this full-time voice acting gig than I ever put into my corporate job and I put a lot of work in my corporate job.  25:27 - Lau (Guest) Because you love it. Because you love it, there's a passion, there's an honesty about it. You love it, you want to do it right. It's there for you. I got to tell you I'm a little jealous sometimes of the lives lived gone by that I had as well, where we were doing like community theater, we were doing things that had no money involved, no end game involved, other than the actual experience of doing it and just loving it, just like being, and we were rehearsing every night. We would do it for three, four months and then we would do one weekend of shows you know what I mean and I say, oh wow.  26:04 Sometimes I really miss those days, Anne, because that was the most honest, yeah most honest moments of I want to do this, I love doing this, I love being with the people and I'm doing it. That has ever been in many lives. Once we get tainted a little bit with oh, I have to make, money, I have to make money.  26:26 - Anne (Host) We got to pay the bills right. We got to pay the bills. If we didn't have to pay bills in our lifetime, wouldn't it be nice. We've got to pay the bills right, we've got to pay the bills. If we didn't have to pay bills in our lifetime, wouldn't it be nice. What would? Our world look like if we didn't have to pay bills, If we could just do what it was that we felt was our calling and have creative exploration.  26:42 - Lau (Guest) I also think though, if we're being honest, we do use money as a marker.  26:46 - Speaker 2 (Announcement) As a motivator. It's a motivator too it's incentive.  26:49 - Lau (Guest) It also feels really good when you earn money for something you love to do or do. Well, it feels really good. There's a rightness about it. Should it be all about that? Probably not. Yeah, probably not, because I think you can lose the luster very easily of why you came into it in the first place.  27:09 - Anne (Host) Yeah, I feel like the money is a good motivator. And it's interesting because I say to people like for me, I love the business of voiceover, because I love to see how I can make money, like in many different ways. And it's not necessarily that I well, I love money. I can say I love money but it's not important that I have to have a ton of it, but it's the creative challenge of making money. That's a whole other show, Anne. That's a whole—we've got to do a show on that.  27:35 - Speaker 2 (Announcement) How much do you love?  27:36 - Lau (Guest) money, because I'm telling you, this is like one of our top ten taboo lists that we're creating. Yeah, absolutely, the hobbyist on the taboo list Money. It's okay to love money on the taboo list. There's probably other stuff too that we'll think of along the way, but it's like we're trying to dispel this. It's not even a myth. It's true that you are made to feel this way in our society and it's not accurate. You don't have to feel that guilt. You don't have to feel bad about loving to do something and not wanting to make money at it, absolutely.  28:08 - Anne (Host) Or even if you want to make money at it, you don't have to feel bad. And so you guys bosses out there. You don't have to do full-time voiceover to be a boss. You can absolutely pursue part-time voiceover and be a boss and be the best boss that you can. So great conversation, laura.  28:26 - Lau (Guest) I love that we fixed that one.  28:28 - Anne (Host) Yeah right, that was a goodie. 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 and we'll see you next week. See you next time.  28:44 - Speaker 3 (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.   

Bosses to workers: ‘Return to the office every day, or else.' Workers to bosses: ‘No.' Learn more about your ad choices. Visit podcastchoices.com/adchoices

At some point we figured out that this is episode 304. And what better time to discuss support gems, sexist NPCs, weapon swapping, and fun protests in GGG's parking lot. No matter where you stand in Path of Exile's spectrum, we hope you're enjoying the game you're playing! Love ya! And congrats on winning the car!(00:00:00) Welcome to Forever Exiled & Weekend Plans(00:08:43) Summer Activities and Backyard Stories(00:16:57) Driver's Licenses and Road Rage(00:25:42) Path of Exile: Back into the Game(00:33:38) Return to Atlas and Passive Tree Tweaks(00:42:10) Thoughts on Bosses and RNG Progression(00:50:14) Rebuilding Characters and Testing Ideas(00:57:29) Upcoming POE Events and Future Hopes(01:04:05) Community Feedback and Comments(01:09:11) Wrapping Up and Next Week TeasersForever Exiled Info:www.foreverexiled.comPatreonTwitter @ForeverExiled82Path of Exile WebsiteWrecker of Days Builds ListDiscord...FE Merch StoreFE Nexus Store

Fiona O'Malley, CEO of national mental health charity Turn2Me, joins us to talk about the hidden toll toxic bosses can take on mental health. From silent burnout to anxiety and depression, Fiona breaks down why the culture of “just get on with it” needs to end and how Irish workplaces can start putting mental wellbeing first.

We're challenging the most accepted wisdom in workplace culture - do people really quit bad bosses, or are they really fleeing broken systems?Join Product Manager Brian Orlando and Enterprise Business Agility Coach Om Patel as they engage in this heated debate and explore whether blaming individual managers lets dysfunctional organizations off the hook.

BOSSes, get ready for an inspiring conversation with a true powerhouse of performance. In this episode of the VO Boss Podcast, we welcome the incredibly talented Stacia Newcomb, a veteran voice actor and performer who has been lighting up the mic and screen for over 20 years!   00:01 - Speaker 1 (Announcement) Hey bosses, if you're ready to start that demo journey, let's craft your professional demo together. As an award-winning professional demo producer, I'll collaborate with you to showcase your talent in the best possible light. From refining your delivery to selecting the perfect scripts to showcase your brand, I'll ensure your demo reflects your skills and personality. Let's create a demo that opens doors and paves the way for your success. Schedule your session at anneganguzza.com today.  00:33 - 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 Ganguzza.  00:52 - Anne (Host) Hey, hey everyone. Welcome to the VO Boss Podcast. I'm your host, Anne Ganguzza, and today I'm here with a very special guest who's been lighting up the mic and the screen for over 20 years. Who's been lighting up the mic and the screen for over 20 years?  01:09 Stacia Newcomb is a powerhouse voice actor, performer and creator whose work spans just about every medium, let's say television, radio, video games, audiobooks and even puppetry. You might recognize her as the star voice See what I did there and fuzzy face of star from the Good Night Show on Sprout, where she's brought warmth and comfort to bedtime for kids for over a decade. Not only that, but she's voiced characters for Disney, nickelodeon, pbs, kids and Cartoon Network. And, of course, you've heard her in campaigns for brands like Geico, verizon, subway and Dunkin'. She's made her mark on stage and screen from a memorable appearance on 30 Rock, which I found to be quite interesting We'll talk about that in a minute to sold-out off-Broadway comedy shows like Can I Say this? I Can Shit Show and Potty in the USA. I can't say that because it's my podcast. Yes, these days she's running her own studio in the Berkshires Sound and the Furry where she produces family-friendly content and helps other performers find their voice. Welcome to the show Stacia.  02:12 - Stacia (Guest) Wow, thank you. That was quite the intro.  02:15 - Anne (Host) I'm like wow, I was like wow, I don't think 30 minutes is enough time for us, Stacia, to go through everything that you've done. Let's not, then We'll talk about whatever we want to. It's just, it's so amazing. I mean, so you've been in the industry for over 20 years, which actually to me, I've been in it just the voiceover aspect for like 18. And so 20 years feels like it was yesterday to me. But talk to us a little bit, talk to the bosses and tell us a little bit how you first got into performance. I assume performance was before voiceover.  02:50 - Stacia (Guest) Yeah, yeah, hey, bosses. Yeah, I started as an actor. I wanted to be an actor for as long as I can remember, I mean when I was little. My mom still tells a story about how I performed for all of my five-year-old friends at my fifth birthday party, which sounds like still a good party to me, right? So, yeah, so I started as an actor and through that I tried to just branch off into any direction that I could, to be living a creative life and be able to continue performing in whatever medium I could. You know.  03:34 - Anne (Host) So what was one of the first things that you did? Performance wise, professionally, yes, professionally.  03:38 - Stacia (Guest) So I this is so random, but there is. I'm from Massachusetts, that's where I grew up. In Newport, rhode Island, which I don't know if there are any Gilded Age fans out there there was a mansion, the Astors Beachwood, and the Astors Beachwood was owned by the Astors at the time when I graduated high school. At the time, for about 10 or 15 years, I think they had. They hired actors from all over the country to live there and perform as both aristocrats and servants of the 1890s the year was 1891. And we yeah, it was all improv, like some days I'd be an aristocrat and some days I'd be a little housemaid.  04:22 - Anne (Host) Wow, that sounds so interesting. Now you said Massachusetts. Now see, I'm originally a New York State girl, right, and I've been up and down the East Coast, so Massachusetts would suggest that you have an accent in there somewhere. Yeah, I sure do.  04:37 - Stacia (Guest) It's right there.  04:38 - Anne (Host) Yeah, and of course I feel like, because I had a very New York State accent which was kind of similar, believe it or not, not quite as I don't know, not quite as accented as, not as ugly. Is that what you're trying to say? Oh no, because I would say things like car and water and it would be like really flat with my A is water.  05:01 And when I moved to New Jersey, oh my gosh did they make fun of me, and so I should not make fun of you?  05:04 in New Jersey, in New.  05:04 - Stacia (Guest) Jersey, they say, they say water.  05:05 - Anne (Host) They say water, what's water, and so I literally like and I think you're, I think possibly at the time this was before voiceover I said, oh gosh, all right, so let me try to tame that, and so I did my own taming of my own accent and then ultimately, I got into voiceover.  05:36 And back when I got into voiceover it was a thing to neutral, to quote, unquote, neutralize, whatever that means, neutralize your accent. And I said it was in a pink envelope and I brought it to the backstage door and so I heard myself say that and I was like and so from then on I just I started pronouncing my R's and have never looked back.  06:02 I imagine once you do, you have family that's still in the area.  06:05 - Stacia (Guest) Yes, in fact, we just moved my mom out of the area.  06:08 - Anne (Host) Yeah, when you go to family reunions and I think that when I get around my you know, my family in New Jersey, like we all start talking quicker and then we start, you know, well, let's talk about you know, we just like get into that accent and it just happens inadvertently but outside of the accent. So that's a really cool first gig. And so then did you go to school for theater?  06:33 - Stacia (Guest) We did OK. So I had done a little dinner theater and then I but I had been auditioning in New York. I had a big callback when I was like 18. I was called back for Les Mis and it didn't happen, unfortunately. But it's cool because it led me on other adventures.  06:52 - Anne (Host) Sure, that was one of my first shows by the way that I saw that. I saw that. I was in a show. No, yeah. No, I can't claim that, but but a callback for Les Mis is really awesome.  07:01 - Stacia (Guest) Yeah, it was a big deal, I and I, so I always. The plan was always to move to New York City, but it just takes a while to get on your feet and New York City is very expensive and a little scary when you're you know, sure is Absolutely Very scary.  07:15 Yeah, and so I ended up getting there eventually. But I did go to college and then I quit college because I realized at some point, like I'm getting a degree in musical theater and what am I going to do with that degree? And I'm spending so much money, but when you're 19 years old you don't realize what you're signing on the dot. You're signing your name on the dotted line for thousands upon thousands of dollars and it's the program itself ended up falling apart. And there were all these promises that were made to me, like you know I, because they gave me a bunch of credits because I'd already been working as an actor, and then I was going to go to London and then they were going to give me my master's so I should have had my master's within five years master's in theater performance. They also had a program where, like I would get my equity card and they do theater during the summers. But it was a small liberal arts Catholic college in Minnesota and the program sort of fell apart and I escaped. I was like this is not.  08:21 - Anne (Host) I had to get out of there. I escaped. That was a lot of that was a lot of words, and I'm not going to make this political at all, but that was a lot of words when you said Minnesota Catholic theater. Coming from a Catholic girl.  08:35 - Stacia (Guest) So I get that. Yes, so it was run by these two incredible gay men who were. They were amazing, but as you can imagine the politics at the time and just yeah, they were amazing, but as you can imagine the politics at the time and just yeah, yeah, yeah, absolutely, and so all right.  08:48 - Anne (Host) So you quit college. And then what? I quit college.  08:53 - Stacia (Guest) But I got a job before I left, so I needed the impetus and the excuse to get out, which so I ended up working for Goodspeed Musicals, which is in Connecticut and they're a really pretty famous like regional theater. They'd won a lot of awards at the musical Annie started there, so I went there to be an intern in costuming and then I left that because I was like this is not what I want to be doing, I want to be performing. But it got me back east, which was great, and then from there I ended up taking like odd jobs, living with my parents for a little bit until I landed a show that took me on tour as a one person it was actually two different one woman shows for this company that's an educational theater company, and so I did that for like five years and while I was doing that I was able to make enough money to move to New York City and just keep going.  09:47 - Anne (Host) Now, what shows were those that you did that? The one woman shows, because that's quite a thing to do, a one woman show.  09:53 - Stacia (Guest) Yeah, and they're educational. So we would go to I would go alone really, I would travel all over the country, and one of them I played the fictional best friend of Anne Frank, and then the other one I played this young Irish girl who came over during the great wave of immigrants in the early 1900s. So I would go to, like schools and libraries and small theaters, and it was.  10:16 - Anne (Host) It was really incredible, an incredible job for a learning experience Now, at any given time at this point in your life. Did your parents or anyone ever say to you well, okay, so when are you going to get a real job? Do you know what I mean? Is it that? Was it ever like that for you?  10:35 - Stacia (Guest) I mean, yeah, I mean, I think probably in my own mind I thought not real job, but like when's the real, when are we gonna you know, and certainly when I would do my? You know, when that really happens is like around March or April, when you start doing your taxes and you're like exactly, theater doesn't pay, and so yeah, but I didn't get pressure like that from my parents. I got, I was lucky to get their support.  11:05 - Anne (Host) Yeah, that's wonderful.  11:06 - Stacia (Guest) I mean, they didn't have to support me financially and that's, I think, all that mattered to them.  11:10 - Anne (Host) Well, that's actually huge.  11:12 - Speaker 2 (Announcement) And.  11:12 - Anne (Host) I love that Because you had support to be able to go out and follow your creative dreams, which, I mean, my gosh, you, you've actually I mean you have the gamut of of creative things that you've done, and I imagine that just gives you such wonderful experience, because you're so rounded in all the areas that would make it important for you to be successful in any of those business areas.  11:38 - Stacia (Guest) Thank you, I think it's it's. It's also like trying new things and being new at things and, um, trying to not get be stagnant. You know, like just um, and and even always in my voiceover career, it's like I have to remind myself to uh, like that I get to do this and that that this is what I love, and just to to make it. How do you make it fresh when you've been doing it for so long?  12:08 - Anne (Host) For so long, absolutely.  12:11 - Stacia (Guest) And it's a different thing when you look at whatever you're about to experience or do with fresh eyes or like beginner eyes or like from a beginner experience, because you immediately are like, whoa, I love this, you know, and sometimes I think that can easily bring back the magic to whatever you're working on.  12:34 - Anne (Host) Yeah, yeah. So, these days are you mostly doing voiceover, doing voiceover and performing.  12:41 - Stacia (Guest) Yeah Well, so the pandemic changed a lot of things for me. We, because I've been in New York City and you know I'm still. We still have our apartment in New York City, but I'm mostly up at our house in the woods in the Berkshires. Yeah, I am still auditioning, I am still doing voice, a lot of voiceover. So yeah, I'm kind of all over the place and sort of open to whatever happens. I'm not I think I haven't been fully steering my own ship. I've kind of been like I don't know where are we going to go, Whatever you know, and just being open to whatever.  13:15 - Anne (Host) And there's so much good to be said in that though.  13:18 Yeah kind of allowing it to happen. I, I think for me and I don't know, I don't know what to call it, but for me I've always followed my gut or my intuition, and a lot of times, if things don't come right away, I know they will at some point, but I don't. I try not to rush myself to get to any specific spot, because I know that if it's going to happen, it's going to happen, and and the time it takes to kind of evolve the solution or the you know, to actually say okay, yes, now I know I have more, I have more direction, and now I'm heading in this direction. So I love that you said that. I love that Because you're not always sure right, you're not.  13:55 - Stacia (Guest) You're not. And you know the business has changed so much over the last, you know, over the last five years. I mean it's. It's kind of crazy. It's a new world and it's different. Navigating it is different, even though I'm with the same agents, even though I'm, you know, still in the business and I know the casting people or the producers that I know and have worked with. It's just, it's different. Approaching it like, hey, yeah, I don't have to rush. I really love that, Anne, because I feel like there is a rush.  14:30 - Anne (Host) There's always a rush I want it now. Yeah, no, I agree, I think so many of my students are always. They want it, they want it now, and I'm like, well, there's something to be said to letting it marinate and letting it evolve and letting it happen.  14:43 - Stacia (Guest) And also like looking in the other direction or seeing what else you know, I think. I think a lot of times, artists, especially if you're focused on one particular medium, you just focus on that one thing. And I, I recently started painting. Am I good at it?  15:01 - Anne (Host) No, I love it. I love it, but I don't think anybody could ever accuse you of not like experiencing or exploring different mediums, but it keeps you alive, it keeps you like, creative and happy, and that's what I want.  15:14 - Stacia (Guest) It'd be exactly that like lightens you up and it opens you up to when you are approaching commercial copy or whatever. It is Right Because you're, because you haven't been like. Why am I not looking? Why am I not? What am I? Who do I?  15:31 - Anne (Host) need to be for this piece of copy and you're just, you're just letting it, you're letting it happen. Yeah, yeah, I love that. Oh my gosh. So what? Before I actually talk to you about, let's say, some character, I want to. I have some character questions to ask you, because I think you're always a character in voiceover and no matter what genre you're working on. But I do want to talk about puppetry and what got you into that?  15:51 - Stacia (Guest) I had been doing Pokemon. I was very lucky. When I moved to New York I worked as a cater waiter when I wasn't doing the that one of those one woman shows and a friend had introduced me to the studio that that at the time was recording Pokemon. So you know how it's like things trickle Around. That same time this show was off Broadway it was called Avenue Q and then that musical came to Broadway, which is where I was finally able to get tickets, because you could not get tickets to it and it was crazy and it was such a special show. It's just so funny. The music is great and touching. It has so much heart to it. I mean it's a little dated now, but at the time it was, it was just extraordinary.  16:38 - Anne (Host) And it's still yeah.  16:39 - Stacia (Guest) So in that show for anyone who any of the bosses out there that that haven't seen it or don't know about it in that musical you see the full-on puppeteers playing the puppets on stage and it's so revealing. And me, as a young woman, I always loved puppets. I had puppets as a kid. I had like an Alf puppet from Burger King. I had a Kermit the Frog puppet. I loved puppets. Never thought that it could be a career, never thought in a million years. And when you think about it there aren't a lot of. It seems like there aren't a lot of female puppeteers. There are and there are more, but as I was growing up it was all men really, and then you would have like even the female characters. I mean Miss Piggy's, like one of the most famous women female characters of all time. She's played by a man and so you know the idea of being able to play a, be a puppet. It just was not. It never, you know. And so I saw that show and it was just incredibly revealing to me. It was like a light bulb moment. So I immediately got a puppet and started training.  17:52 I actually was so lucky that I got into a class that John Tartaglia had been teaching at that point in the city and I got to study with him, which was amazing and he's a beautiful human being, and so from there it was just kind of magical. Somehow this show was uh happening. I did another little uh on camera thing, but then this show the good night show happened. I auditioned for it and I had already created this little four-year-old girl character. They wanted me to change it up and make it a boy character. Well, those voices are going to be very similar, because a four-year-old boy and girls can sound pretty similar oh yeah yeah, Actually I was listening to it, I was trying to figure out.  18:35 - Anne (Host) You know, I felt like it could have been either yeah, right, right, because it's so young.  18:41 - Stacia (Guest) So yeah, so I auditioned for it and I booked that job and it became a huge part of my life. I ended up creating a part of the show and writing for the show and helping create the spinoff of the show, and so there's your, there's your acting, your puppetry, your your voiceover.  19:00 - Anne (Host) I mean you're, I mean production, I mean it's all aspects.  19:04 - Stacia (Guest) Yeah, absolutely yeah that's, that's amazing. It was, it was a really it was a really special show and a beautiful community and even now I, michelle who, michelle Lepe, who was the host on the show she still gets messages about, you know, from the kids who grew up with it, just like how much it meant to them, which is very sweet. I don't because no one, because I don't look like this.  19:29 - Anne (Host) Well, you know, I can say something similar because I was a teacher for 20 years and so I watched my kids grow up and I literally had one of them contact me just recently on LinkedIn thanking me for setting them on the path, and I was like, oh my gosh, like that just meant the world to me, and so I think that's beautiful.  19:49 Right, and that's one of the reasons why I love doing any educational voiceover. Sure, because I feel like there's, and not just e-learning, but like medical, like I mean anything that educates an explainer that can help someone, and even corporate. Do you know what I mean? Because you're always come at it from an aspect of how can I help you, the person that I'm talking to, you know, look better, feel better, be better, you know, and really that's commercial too, because it really should be about how you're helping the person that's listening to you, yeah, and connecting in that way, and not necessarily what you sound like while you're doing it, yeah.  20:31 Let's not get wrapped up in that, yeah, no. And so with that, it's a good segue to start talking about characters, because you've done so many characters, but you also have done commercials. So when it comes to characters in voiceover, let's talk a little bit about that. How is it that you prepare for any given piece of copy? Is it always a character?  20:56 - Stacia (Guest) Is it always a character you mean like with?  21:00 - Anne (Host) character copy or what you mean, or any kind of copy. Do you create a character for any type of copy, any type of copy, I think?  21:06 - Stacia (Guest) for me, my approach to commercial copy is it depends on the spot but it also is like how you know the age old question how would I talk to? A friend about this sitcom, you know, like whatever it is, but I and so it's just about bringing my authentic self to it. But also there's a there's. I think there is a musicality to it, but also it really depends on what's on the page right or what we're selling, you know do you ever envision?  21:37 - Anne (Host) do you ever envision yourself as the um, the, the? On camera the zip cream or the character zip cream or the. The person on camera. The character Zipcreme or the person on camera.  21:47 - Stacia (Guest) Sure, yeah, I think I mean I love when you get any kind of visual or if they give you the break of what is gonna be on screen and then you can kind of I love visualizing. I think visualizing because what it does for me is it brings my imagination to life, which immediately I'm having way more fun in the booth yeah. Yeah, and it's enjoyable, even when the copy is like maybe a little like dry or sad or whatever, like liven it up by visualizing what's happening.  22:26 - Anne (Host) Yeah absolutely Believe it or not. That's a big thing. Even if I'm doing e-learning, I'm imagining that I'm the teacher, because I was a teacher for so long and so I can draw upon that experience, and it's better for me to talk almost like a one-on-one coaching with a student. And if I try to envision myself in front of the class, even when I was a teacher, I was always looking at one person at any given time. Yes, so it made it much more personal, of course, and so for e-learning, I'm a character Corporate narration. I'm a character because I work for the company and I'm trying to provide a solution that is going to help the person that I'm talking to, which makes it a whole lot more interesting than if you're just reading about it to someone.  23:15 - Stacia (Guest) Totally yeah, or sound, trying to sound like someone who reads these kinds of things. Right, it's like, because it's a really I think what it comes down to is connection and we, as actors, need to connect right copy, which means I probably need to understand it. That's, that's excellent.  23:25 - Anne (Host) So yeah, so how? What are your steps for connecting to copy?  23:28 - Stacia (Guest) It really depends on the piece. Recently I had to do what was pretty lengthy and I had to do the spot in 15 seconds and it was like okay, I don't usually read things over and over and over again because they feel like there's an element of um, uh, over overdoing it you know, I agree I agree.  23:52 So my booth is here behind me. That's why I'm pointing behind me, in case anyone's wondering Um, and so sometimes when I get in there, I will run it a few times like that particular spot because it had to be so quick. But at the same time, of course, they're going to want it to sound like I just talk, like that, you know, and so it's like it's marrying those two things right when I want it to come off like it feels like me. I'm just sort of having this talk, but I'm also. It's very quick and rapid and it falls within the 15 seconds. Yeah, so my approach is not always the same thing. It really depends on what I'm working with, and sometimes there isn't enough time, like in that 15 seconds, there's not enough time to visualize or do this. It's wall to wall copy and it's also I'm talking about this cool thing that you're going to love, and so it's just about like who sometimes I like playing with? Who am I talking to? Where am I? Proximity is such a fun thing to play with too.  24:57 - Anne (Host) You can do that in a minute or two, totally Right. Yeah, and that's the thing I always try to emphasize to my students is that it doesn't take a whole lot of time to figure out who you are and who you're talking to and maybe set a scene up, yeah, and to get yourself rolling on that. I mean it's nice if you have the entire scene as it progresses through, because that allows you to help tell the story. But if you don't have all the time in the world, but a lot of times we're auditioning in our studios. I mean, we're not live auditioning as much as we used to. Gosh knows that's the case, right? Um, and unless we're like in front of a, we're being live directed. That's a different story, right, but if we've got the time before we go into the studios, I mean, what do you take five minutes?  25:37 - Stacia (Guest) if you put different scenarios on it, because you're probably sending more than one read on this commercial copy and we don't know. But the thing that I've loved playing with recently is I really love doing a take. That's for me what do I want?  25:53 to do with this? How do I want to bring myself to this? Because I think that what makes us viable, that what makes us marketable, is us. We are not disembodied voices. We are human beings with lived in experiences, and so we're not just bringing our incredibly gorgeous voices. We are human beings with lived in experiences, and so we're not just bringing our incredibly gorgeous voices. We are bringing ourselves to this copy and what our lived experiences and our lives, and so that that's really fun to to, just like I would. I would, I would encourage everyone to just do one for you. What do you want it to sound like?  26:29 - Speaker 1 (Announcement) Exactly.  26:30 - Stacia (Guest) Because that's the most empowering feeling is to be like I want to do this with this, and that's when you're collaborating too Sure sure, and is that the take that you submit first?  26:42 - Anne (Host) Not necessarily. Is that take one, or is it the second take?  26:46 - Stacia (Guest) Like lately I have been exploring it and I just feel like I just want to be a little more playful, yeah, and so, yeah, I mean, I say not necessarily.  26:56 - Anne (Host) The truth is I lean towards that one, unless I've worked with the people before.  27:00 - Speaker 2 (Announcement) Yeah, and I know what they're looking for. You know what I mean then I'm gonna just give them what they want.  27:04 - Anne (Host) But uh, if I don't know, and it's not like a critical like I, I always think like it's kind of like gambling for me, right, sure we're all gambling.  27:13 - Stacia (Guest) We're just all right, we're all gambling, right.  27:15 - Anne (Host) So I'm just gonna like, well, you know what, I'm just gonna do my best and I'm gonna, and I'm, and I'm gonna, just, you know, send it and forget it, that kind of thing. So I'm not gonna put so much stock in like, oh my god, did I do the right thing? Did I give them what they wanted? Am I going to get this? I try never to like hope and wish in that way for any job.  27:35 - Stacia (Guest) If you're saying I want to do this and that's where I'm like no, both of those takes are for me. It's not that it's for me, but it's like I'm going to give you what I want to give you, and then I'm going to give you another take of something different that I want to do with this.  27:53 And of course I read all the specs and of course I read and I'll even, you know, watch other spots that they've done to get an idea. Like we got to do our homework right, but then it's like you asked me to do this. I'm going to got to do our homework right, but then it's like you asked me to do this. I'm gonna do it my way. See, it's fun. I'm gonna have fun with it. I'm gonna. It's so much easier to let go when you like, because if you hold on to what you like, if you, if you don't give the what you want to do with it, read, then it's like you might live with regret yeah, you know, or like it sounds like everybody else's yeah right  28:29 at the end of the day maybe even they're all gonna sound somewhat the same, anyway, you know, but it's like at least you know you had fun with it. You felt like your authentic self and you and you played yeah yeah, you know.  28:43 - Anne (Host) So, being a singer, which I, that was the other part of the medium that I didn't really talk to you about, but I mean, I can actually hear just your talking voice, although I've never heard you sing. Except I did, I did go, you know, I did my homework, I did my, I did my YouTube. You have a gorgeous voice.  28:58 Oh, thank you, but I can hear that.  29:00 I can hear that in your voice as you speak to me, and it's so funny because I think that no one should have to try, right.  29:10 I think that no one should have to try right to create a voice that somebody thinks they want to hear. Because when we're connecting right and I actually listened to quite a different number of songs that you did in different styles, and one was from your potty show, and so you had such a range there and what was so cool is that you were just undoubtedly yourself and just like in all aspects of yourself, and that was just so cool because it was connecting and that was what I was looking for as a human being. I was looking for that, that connection in the voice and while you were on stage and while you were communicating to me, and I feel like it's the same exact thing. It's the same exact thing for voiceover, right. It's all about like your voice is beautiful, no matter what you're you know what I mean, no matter what you're doing, you don't have to try and so just connect with me, and that's really what I'm looking for as a human being, and I think that's what most casting directors are looking for.  30:04 And they tell me over and over again, that's really what they're looking for. Is connection, not necessarily the sound.  30:11 - Stacia (Guest) I think we get caught up in the sound. The sound or I flubbed on this, or I you know this or that, whatever it is, and it's like I. I don't want to be listening and I am because it's so hard when you're doing this yourself.  30:28 - Anne (Host) It is hard not to listen.  30:30 - Stacia (Guest) You have to take off the director hat while you're the actor, and then you have to take off the engineering.  30:39 - Anne (Host) You know you have to compartmentalize, because if you don't, and you don't because you'll, and then when you come back, Because if you don't and you don't because you'll, and then when you come back and you're the engineer slash director and you listen back and you're like, oh, as an actor, I really loved that last take, that's weird. I don't like listening to it, like I don't. I don't have that feeling brought this up because it's hard. It's hard for us to separate the ears, right. It's like you have to develop an ear, right, you have to develop an ear as an actor, you have to develop an ear as an audio engineer and you have to be able to separate them.  31:13 And it's funny because I've always maintained back, when I was really, you know, moving on this in this career, I was in a place where they were doing construction outside my home and I had, when I was in my studio, I had my headphones on. I had to keep them on because I had to make sure that there was none of that sound coming in, and so I had my headphones on a lot of time. And if, if you get good at it, I always say the headphones are just amplifying your voice, and so if you can not listen to your voice and just you know what I mean, like you can record with your headphones on. I mean, right, you got to do it when you're live directed anyways. So I'm always saying people are saying, oh, I don't wear my headphones because I try to listen to myself.  31:53 I'm like I could listen to myself with my headphones off. Do you know what I mean? But you've got to be able to compartmentalize, and I love that you said that, because that is a skill and it's a skill that I think takes a little bit of time for for people to to really really get to be able to to say, okay, this is my, this is my actor ears. Yeah, versus what do I sound like?  32:16 - Stacia (Guest) right, it's that constant like don't listen what you sound like and it's. It's also like there's because there is that judgment that comes in you and that when you are wearing cans, if you aren't telling your self limiter I talk about this a lot and we'll talk about it when when we work together with everyone, but if you aren't challenging them and saying I don't need you here right now, it's very powerful to send them away, to send that voice to me. For some reason, it's right here.  32:48 - Anne (Host) It's just very like right, that's like the magic secret Stacia, I mean I love that it works for me. So, I want to say that we are going to be having you as a VO Boss workshop guest director, so, and and we are going to be talking character creation. So will we be discussing, talk a little bit about what we're going to be talking character creation. So will we be discussing, talk a little bit about what we're going to be doing in that class.  33:08 - Stacia (Guest) What I would love to do is see where everyone's at, what they want to play with, and, of course, do that, but also, I think, for everyone, I would love to share the self limiter and what I, what I do to get rid of that sort of you know, it's a, it's a protection right. That's what that voice is doing. It's trying to help you, but it's not helpful. I love that.  33:34 - Anne (Host) Oh my gosh, that's like secret sauce.  33:36 - Speaker 2 (Announcement) Yeah, yeah, I think so.  33:38 - Anne (Host) I know how hard that I mean. It's just, it's so hard. I mean, and you do have to, you have to be able to, you have to be able to separate it, you have to wrangle that?  33:46 - Stacia (Guest) Yeah, because that that voice that's trying to protect you inevitably is is keeping you safe. It's keeping you safe, it's doing its job and you don't. You do not want anyone keeping you safe when you're in your booth. Yeah, it is not a place for safety.  34:04 - Anne (Host) It is a place to play.  34:06 - Stacia (Guest) If you're playing safe and you're in a dramatic role for a video game and you're, you know you're about to I don't know shoot up some monsters, or you're afraid for your life or it, or you're, you know, some silly little kid like you got to be a little kid, you got to be playful and you know, or you got to be scared of those monsters or whatever's on that page. It is not a place for you to be protected or be playing it safe.  34:33 - Anne (Host) Yeah, yeah, I love that. Did I just get on a soapbox? I think I did. I think that, no, I love that and and all right. So, from a different perspective right, I mean a different perspective, it the way that it hit me, but I love that. You teach that because I am.  34:47 You know, I've had health issues, right, I had cancer, and before I was diagnosed, I was like so worried about what I was sounding like and what. You know how the audition went and did. Should I have done it this way? Should I have you know? And then all of a sudden, it was like whoa, like what was I? Like that just didn't seem important anymore. I shouldn't be.  35:09 Why was I so worried about what I sounded like when, in fact, I just, you know, I'm fighting this disease right now, and so it gave me such a license to permit myself to be free. Yeah, just not worry and not have that self-judgmental voice on me all the time. It was an amazing thing that happened to me and unfortunately I mean well, I mean fortunately I'm here and everything's good, you know. So nobody, nobody, has to worry about it. But in reality, it was one of the best things that could have happened for my performance, for my actor, my actor self, was to say what the hell was I so damn worried about? What was I? What was I trying to be? You know what? Just screw it Like, isn't it incredible?  35:47 - Stacia (Guest) how? So empowering? So it's like grief is off. Grief is awful and we all, as humans, live through it and the way that it can have some magical elements and empowerment in it is really incredible. Talking about that and how you're like I don't care, Like I don't. Why am I going to concentrate on what I sound like? That was not a priority.  36:16 - Anne (Host) No, Well, what I sounded like is not a priority anymore.  36:19 - Stacia (Guest) No, no no, it was amazing, because it's like a reminder of who you are, who your soul is Like. You want to connect with people and that's what you do. I love it.  36:29 - Anne (Host) Oh, my God, I'm so excited, so excited for you to join us. So, bosses, make sure that you check out the show notes and I'll have a link to the VO. Boss, or just go right to the VO Boss website.  36:41 - Stacia (Guest) Is it down here? Is it? Should I point to things?  36:45 - Anne (Host) I'll be putting it in the post. So it's on VeoBosscom. You guys check out the events and sign up for Stacia, because it's going to be an amazing class. And, stacia, I just want to say thank you, this has been so much fun. Thank you so much for joining us.  36:59 - Stacia (Guest) It was a pleasure.  37:00 - Anne (Host) Yeah, it's been wonderful Really getting really getting to know you even better. I'm so excited.  37:05 - Stacia (Guest) Back at you. You're an incredible interviewer. It's really what a joy.  37:10 - Anne (Host) Thank you Well thank you, I appreciate it. Well, look, bosses. I'm going to give a shout out to our sponsor, ipdtl. You too can connect and network like bosses, like Stacia and myself. Find out more at IPDTLcom. Bosses have an amazing week and we'll see you at Stacia's class right. Yay, in August. I'll be there and we'll be with you next week with another episode. Thanks, so much.  37:33 - Speaker 2 (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. 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.   

Joel and Fletch cover all the latest NRL news on the Run Home – Storm star Jahrome Hughes locks in a new deal with Melbourne, while Ryan Papenhuyzen is linked to a rival code. The Dragons suffer more injury setbacks, the Raiders work to secure their key players, and Dane Gagai re-signs on a one-year deal. 00:00 - Jahrome Hughes signs an extension 02:00 - Where does Jonah Pezet fit in the Storm 03:30 - Should the Perth Bears get a head start on signing players 05:30 - Could Munster get released 09:00 - Joel's crap stat 11:00 - Raiders looking to lock in their stars 14:00 - Dragons injury toll 16:00 - Ryan Papenhuyzen meets with R360 18:00 - Dane Gagai extends with the Knights Listen to The Run Home with Joel and Fletch live every weekday: 3pm AEST on SEN 1170 AM Sydney and SEN 693 AM Brisbane Listen Online: https://www.sen.com.au/listen   Subscribe to The Run Home YouTube Channel ⁠https://www.youtube.com/@JoelandFletchSEN⁠   Follow us on Social Media! TikTok⁠ https://www.tiktok.com/@joelfletchsen⁠ Instagram:⁠ https://www.instagram.com/joelfletchsen⁠ X:      ⁠https://x.com/joelfletchsen⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

A cafe in Dover has been forced to close until further notice after a fire ripped through the building.Bosses say they're "heartbroken" after crews were called to tackle the blaze in the early hours of yesterday.Also in today's podcast, fans have been celebrating England's win in the final of the Women's Euros.A mural has been unveiled of Kent striker Alessia Russo at her former club ahead of a victory parade by the Lionesses.We have been hearing from a group that runs cooking sessions for families in Maidstone as we approach the end of kmfm's Tonnes of Tins campaign.Celebration Church will be using food to help provide meals for those who may not be able to afford it.A Dover man has been telling us how he has created a new country between Serbia and Croatia and declared himself President.The 'Free Republic of Verdis' is not yet an internationally recognised state, and an expert has given us his opinion on whether it ever will be.And in football, the Gillingham boss says he is not surprised some of his younger players are being linked with other clubs.There has been speculation on socials over the past week that Luton Town are interested in Joe Gbode.

Why Estate Agents Struggle as Bosses, And How to Fix It! In this episode, Rob Graves from Key Coaching Ltd. explains why so many estate agents, despite excelling at sales, fall short when it comes to running a business. Becoming a great boss requires a completely different set of skills, and Rob shares practical insights into how agents can avoid common pitfalls. He emphasises the importance of stepping back from day to day tasks to focus on the bigger picture, building a business that works for you. Rob also touches on the value of improving processes, investing time in your business, and playing the long game to see real results. Whether you're thinking of becoming a business owner or stepping into a management role, Rob's advice will help you avoid common mistakes and build a successful, sustainable agency. Listen now to get ahead in the property game!

This episode features a security guard forced to be “seen and not heard” at a bank, leading to some creative silent treatment and a perfect case of contract-based compliance. We also hear about a manager who demanded a lawn be mowed in the rain, a warehouse worker who dressed far too professionally to move boxes, and a new hire who took a “no questions” policy to the extreme. From workplace pettiness to policy-driven rebellion, these stories prove that when management gives ridiculous orders, employees find a way to follow them literally. Get ready for another dose of clever and satisfying malicious compliance.Submit your own stories to KarmaStoriesPod@gmail.com.Karma Stories is available on all major Podcasting Platforms and on YouTube under the @KarmaStoriesPodcast handle. We cover stories from popular Reddit Subreddits like Entitled Parents, Tales From Tech Support, Pro Revenge and Malicious Compliance. You can find new uploads here every single day of the week!Rob's 3D Printing Site: https://Dangly3D.comGet your Custom Hand Turned Pen by Rob at https://CanadianRob.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/karma-stories--5098578/support.

Jordan Barab joinED to talk about attacks on worker safety protections, and David Allen, a UPS Teamster, joinED to talk about the buyouts.✦ 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 ★

A mum has been granted permission to convert her house into a children's home – despite facing huge opposition.Vanessa Idada's application to transform the five-bed property in Aylesham was approved unanimously at a Dover District Council planning committee meeting.Also in today's podcast, we've heard from the RSPCA ahead of what's expected to be a busy summer in Kent, with the charity saying they often see a spike in animal cruelty cases this time of year. It follows figures released earlier this month which showed there were 930 reports in June, July and August 2024 A Kent County Councillor says plans to use more electric vehicles within the authority are being scaled back to save money.Bosses were previously trying to transition their entire fleet as part of a net zero project.A mum whose five-year-old daughter had to have a quarter of her brain removed after having up to 50 seizures a day, has sprinkled fairy dust on a new endeavour to help other children.Hayley Davies, from Whitstable, is hoping something she came up with to help Indy through her darkest days of despair will help other children - and their parents - through difficult times. And residents are campaigning to buy and preserve the history of a much-loved pub, which is now the “last one standing”.The Black Horse in Stansted, was once a thriving village boozer but has been closed for more than nine months.

BOSSes, Anne Ganguzza and Tom Dheere dive into a lively and often debated topic for voiceover professionals: industry awards. Prompted by Anne's multiple Award nominations, they explore whether these accolades are simply vanity projects or powerful marketing tools. This episode delves into evolving perspectives on awards, the true meaning of a nomination, and practical strategies for leveraging any recognition to propel your voiceover business forward. They emphasize understanding the subjective nature of awards and how to use them for credibility, even beyond winning.   00:40 - Anne (Host) Hey everyone, welcome to the VO Boss Podcast. I'm your host, Anne Ganguzza, and I'm here with real boss, Tom Dheere. Woo-hoo, hi, Tom Dheere. I feel like there's pomp and circumstance for you, Tom Dheere, because it's that season again. Do you know what season it is? Deer season.  01:00 - Tom (Guest) Get it Tom Dheere, Deer season oh my God, that is really funny actually. That was terrible. It was not funny.  01:04 - Anne (Host) Well, okay, in addition to being deer season, right, it's award season. Woo-hoo, that's right it is award season. And I know there's always there's always always discussions about awards, and I've had discussions about awards before. I think we've probably talked about them before, but let's talk about them again, shall we? Because I think it's an ever-evolving thing and there are some people who are really for awards and some people who really detest awards.  01:32 - Tom (Guest) Yes, the reason why we're having this conversation, Anne, is because you got nominated for how many One Voice Awards.  01:41 - Anne (Host) Five why,thank you.  01:43 - Tom (Guest) Yes.  01:43 - Anne (Host) Why, thank you.  01:46 - Tom (Guest) I'm very excited about that. Wow, this is exciting and it's for all of the amazing work that you have gotten out of your students.  01:54 - Anne (Host) Yeah, for demos. 01:55 - Tom (Guest) That's amazing. Congratulations to you and all of your students. I'm very excited.  01:59 - Anne (Host) Yes, thank you, thank you. I like awards. I am one of those people that I actually endorse awards and I know some people think they're a vanity thing and in reality, for me it's always been about the marketing aspect. Tom, what are your thoughts?  02:15 - Tom (Guest) I used to be part of the anti-awards crew. I thought it was an exercise in vanity. I thought it was a money grab by the voiceover organizations that were hosting the awards, and my thoughts have evolved on the subject. Okay, I'd love to hear that. Well, I really do see now that it is truly a marketing tool and that is okay. All awards in all industries, from the Oscars all the way down to, you know, dog Catcher of the Year, these are all marketing. It's all about marketing. Is it about recognition? Yes. Is it a celebration of the industry in question? Yes. Is it to shine a spotlight on excellence, either from an individual or a group of individuals or a company, or whatever? Yes, is it to shine a spotlight on excellence either from an individual or a group of individuals or a company, or whatever? Yes, all of that is good and it should be supported. Is it an exercise of vanity? Yeah, sure, it's okay. There's nothing wrong with wanting to get dressed up and have people applaud you. There's nothing wrong with that, it's totally cool, it's totally cool.  03:22 - Anne (Host) Any excuse to get dressed up.  03:24 - Tom (Guest) Well, especially as voice actors who are stuck in closets in our pajamas all day,  03:27 - Anne (Host) Exactly exactly.  03:28 For me, it's always been marketing. First, because we have this whole conversation that awards are subjective. Right, I watch the awards, I watch the music awards, I watch the Emmys, the Oscars, I watch them all. Some people just they have so much to say about the awards, but honestly, I enjoy them if there's entertainment involved and I actually feel like it's wonderful when people get recognition that I feel deserve recognition. But of course, there's always the times where you're like I don't know how that person won or I don't know how that person didn't win, and so it is so very subjective and I think, first and foremost, we all need to remember that that is a fact. Right, it is very subjective and if you do not win an award, it has no bearing whatsoever on your worth or your quality at all, absolutely.  04:17 - Tom (Guest) It's interesting because the prism that most people look through all awards through is the Oscars. Right, and it's like Billy Crystal said it's an evening for three hours where millionaires are handing each other gold statues, which is pretty funny and accurate. But here's the thing I just realized about all this is that if you are a member of the Academy the Film Academy and you get your screeners, you know that Daniel Day-Lewis is up for best actor and you're watching the movie, or whatever excerpts of the movie that they sent you for you to cast your vote for him or somebody else.  04:50 - Anne (Host) Right or anybody else in any other category, or if you're not a voter right, you're a person going. Oh, hmm, somebody thinks that movie's credible, maybe I'll go see it. Guess what that resulted in Purchasing right, purchasing right, purchasing a ticket to go see that movie. So marketing, it worked, so marketing.  05:05 - Tom (Guest) But here's the interesting Anne that I just realized when it comes to the One Voice Awards which we both got, I got nominated for a little one, just one, yay, congratulations.  05:13 - Anne (Host) Tom Dheere.  05:13 - Tom (Guest) The commercial category.  05:14 - Anne (Host) Oh, that's right. That's right, Tom, that's awesome.  05:25 - Tom (Guest) So for your performance, but it's really nice. It's just being like, hey. But here's the thing about it is that when you submit, it's my understanding that when they listen to these demos that you help produce or these voiceovers that I did, they don't know who they're listening to.  05:41 - Anne (Host) Yeah, theoretically.  05:43 - Tom (Guest) So it's theoretically, I mean.  05:44 - Anne (Host) In a closed industry. Sometimes, like I know Tom De're listening to yeah, theoretically, so it's theoretically, I mean In a closed industry. Sometimes, like I know Tom Dheere voice.  05:48 - Tom (Guest) Well, that's exactly what I was about to say. I would like if there were three or four or five, if there were five people who were listening to these, I think that maybe two or three of them would probably be like that's Tom.  05:58 - Anne (Host) Yeah, yeah, yeah, but they don't talk to one another.  06:01 - Tom (Guest) But they don't talk to one other so it's generally anonymous and it's generally done in isolation.  06:06 - Anne (Host) I can say that for certain because I've been a judge prior.  06:09 - Tom (Guest) Right, oh, okay, so.  06:10 - Anne (Host) I can say for certain that it is closed and that you do not know who the entry is. You don't know who submitted it, right, and it's isolated.  06:18 - Tom (Guest) So for the five lovely voice actors whose demos were nominated that you produced. They didn't know who they were and they didn't know that necessarily that it was you that produced it. I mean, after a while, if you listen to enough demos, you can be like that's a Chuck Duran demo, that's a Nancy Wolfson demo because there's just like styles, there's styles you know what I mean, but for the most part they're not going to know who these voice actors are, who are nominated for any of these or for the demo.  06:43 So I think it's more of a pure. There's a level of purity in it that there isn't in the Oscars, for example.  06:48 - Anne (Host) Yeah, there's a combination for that particular category of not just the demo but the performance in the demo and hopefully, if you have created that demo and produced that demo, that has lent itself to a wonderful performance. And just being nominated, I want to say to anybody out there, just being nominated is a win. It doesn't matter, honestly, if I win, and I've been entering awards for years now. There's been many, many years where I didn't win and so I have to like always talk to myself and talk to my students to make sure that if I don't win it doesn't mean that I'm not worthy, it doesn't mean that that nomination wasn't really a win, because you can still believe it or not, you can market a nomination just like a win.  07:28 - Tom (Guest) Absolutely, and the Oscars— it sounds pretty darn similar. The Oscars do it all the time.  07:32 - Anne (Host) Mm-hmm. Award-nominated versus award-winning.  07:35 - Tom (Guest) Right. Did you ever watch the Secret Life of Walter Mitty?  07:38 - Anne (Host) That's the one that Ben Affleck wrote, and directed and starred in.  07:42 - Tom (Guest) I thought that movie was exceptional and I swore I was going to get all these nominations. It didn't get a one.  07:48 - Anne (Host) And.  07:49 - Tom (Guest) I don't know if it's because they didn't think it was off to snuff, if it was too past the deadline, or if they just chose not to submit it, because that's the other thing. We choose to submit ourselves for these awards. Now for actors in Broadway and television and film. They have their production companies or networks or whatever deciding to do these. Oh, we think these people have the best chance and they still have to pay submission fees as well, application fees for the nominations, just like any other nomination, which I think is-.  08:16 - Anne (Host) Well, there's a cost to running an award show. There's a cost to having people judge the awards. There's a cost for people's time, absolutely. So paying to enter yourself into an awards is. I don't find anything necessarily wrong about that.  08:33 - Speaker 2 (Announcement) No.  08:33 - Tom (Guest) Maybe how much you pay, I don't know I mean if it's a for-profit scheme, then you know, okay, I mean people who organize awards. Should they or do they deserve to make a profit, Like I don't know if, like the Oscars, if that's a nonprofit situation where they don't make any money off of it, they just want to celebrate the industry and recognize people for it, and they don't make a dime. And they make the fees just enough to cover the cost to produce the show and print and, you know, make the gold statues.  08:59 - Anne (Host) Well, it becomes a marketing effort for the venue. It becomes a marketing effort for the people who put stuff in the swag bags. It becomes a marketing effort for so many things really. And it's like it's not always obvious, but in reality it really does lend itself to marketing quite a bit.  09:17 - Tom (Guest) One of the other questions. One of the anti-award swath of the voiceover industry says winning award isn't going to book you more work. And for the Oscars? We know that's not true, because when actors or actresses win an Oscar, they get a lot more scripts on their desk. They've all said that they just get more acting opportunities. So in that context it's 100% true. Is it true for voice actors? I'd say it probably isn't, because your typical explainer video production company has never heard of the One Voice Awards. But that's not the reason that you do it. But yeah.  09:52 - Anne (Host) However, let's just go beyond it, because if you market yourself as an award-nominated voice actor or an award-winning voice actor, right, if somebody happens to find you or find your website, right, it lends some credibility. I believe it lends some credibility to who you are. So if I'm a person and I don't know the voices and I have two equal voices that I like if I see that one has won an award or has a history of winning awards or being nominated for awards, I'm going to feel like, oh, maybe they've been in business a little bit longer, maybe they're considered by others to be top of their field, and so I would maybe sway toward an award nominated or award winning. And again, it really depends on how people, given equal circumstances, award winning, award nominated versus maybe not.  10:42 - Tom (Guest) I think that's a very fair point. Now, where my mind was going where Tom Dheere, the VO strategist, business and marketing guy, was going is what's the SEO value of?  10:53 - Anne (Host) the terms award-winning.  10:55 - Speaker 2 (Announcement) Like how is that what's the?  10:56 - Tom (Guest) score. Yeah, what's the keyword score? You know what I mean. So actually, I want to make a note of that. I want to look that up when we get off of this.  11:03 - Anne (Host) I'll tell you, when I look for a company to purchase from right, what's the criteria? I want to make sure that that company's been in business for a while. I want to make sure that they put out a quality product and I want to know that there's testimonials of other people who have used that product that are actually saying yes, it helped me, it was wonderful, it was quick and painless. And think about that. This could be right. Anybody who might have won an award and has testimonials on their website. Right, If you've award winning, then that gives it a little bit of credibility that maybe other people have listened to this person. They're definitely a professional in the industry, right? You don't submit for an award unless you're a professional, so sometimes you just don't know who you're working with. It can help people, I think, to get to know you a little bit better, or really, I think, put that credibility forward first when people are making a buying decision.  11:58 - Tom (Guest) Yeah, I mean, and now that I'm thinking about it as we're talking about it, what's a better testimonial than an award nomination? Right, yeah, I mean, and now that I'm thinking about it as we're talking about it, what's a better testimonial than an award nomination?  12:04 - Anne (Host) Right, yeah, I mean really.  12:06 - Tom (Guest) Right, what's a better endorsement?  12:07 - Anne (Host) That was kind of my point right, it's a wonderful way. So if I buy because of they've been in business, they're not going to just go out of business and take my money and steal it. They're credible, right? They have a good product, right? Well, if they're award nominated, award-winning, that lends me to think that when I look for a beauty product, hello, I'm going to go back to you know award-winning award-winning formulas.  12:28 If I have no knowledge whatsoever of the product, right, I'm going to tend to look there first and after I look there, right, I'm going to look for it. Actually, if I do my shopping on Amazon or I do shopping on anything, right, I'm looking for the number of stars, the ratings, right, A lot of times they go hand in hand. Right Ratings and reviews.  12:46 Ratings and reviews and so award nominated best beauty product of 2024 by Elle magazine, that kind of thing. That kind of means something to me. I'm like, well, somebody did their research right and so therefore, if it's talking about a voice talent that's award-nominated and award-winning, I would feel like, oh okay, maybe there's some credibility there. Now I can go ahead and listen. Let me listen to the voice and see if it's something that I want.  13:10 - Tom (Guest) Yeah, yeah. And of course the capitalist in me thinks oh and if you're an award-winning voice actor, maybe you can charge more.  13:18 - Anne (Host) Well, I right, that's very true, but I also know like if people come to me for a demo, right, they're like I want to win an award. I always try to say to them well, that shouldn't be like I really have people say that to me.  13:28 That shouldn't be the goal. However, they're like I want an award-winning demo. What are they saying to me? They're saying to me that they want the absolute best demo that is valued by the community or valued by others in the community. So they want a valuable product. That's what they're saying to me and I'll kind of say, well, okay, I don't design demos to win an award. However, I want to design a demo to get you work right and if it wins an award, that's a great bonus. And they're like yeah, I know, but I still want an award winning right? People will say that to me, so it's kind of human nature, I think, to want to lean toward a product that is award-winning.  14:05 - Tom (Guest) Right, Because nobody says I want to eat something that's been not approved by the FDA. Yeah right, Exactly, I will never. I will eat at no restaurant that's ever won a Michelin star. I refuse, it's like no, that's ridiculous.  14:17 - Anne (Host) Because it's not just the recognition, it's what the recognition represents. Yeah, absolutely, absolutely so. For me that's where the awards have always sat and I did have issues for years until I explained to my students who I said I think you should enter this into the awards. I will always say, hey look, I think it's an award worthy product, right. And so they're like oh really, and that gives them like a sense of worth or a sense of like pride. Hopefully I wouldn't say it if I didn't think it had a chance of getting some recognition.  14:52 So if I say that to someone, then I've given them a sense of accomplishment, I'm giving them confidence in their product so that they can then represent themselves and sell it better, and that's basically how that'll work. But I will always explain to them look, if you do not win, remember awards are very, very subjective. There have been some amazing, just like there have been some amazing movies that didn't win the best picture of the year. There have been some amazing actors that have not won best actor or best actress, and so you know, you have to really make yourself aware, even though in your heart you might be disappointed if you don't win right or don't get nominated. But you do have to realize that it is very, very subjective especially if you've got an award show that it doesn't cost anything to enter. Nothing ventured, nothing gained. You're not losing out on anything really by submitting.  15:46 - Tom (Guest) I mean, take a chance. It's like playing the lottery, right. Take a chance, Absolutely. So, with all that in mind, what do you do from a marketing stance? And I've got my own ideas too, about how we could tell VO bosses. You've got a thing, whether it's a spot that I did for a college or if there's a demo that you produce with a student.  15:59 - Anne (Host) What are the?  16:00 - Tom (Guest) steps to use it, to use the award, nomination and hopefully the win, as a marketing tool.  16:05 - Anne (Host) Well, absolutely put it on your website right.  16:08 Absolutely throw it on YouTube, put it on your website. Label it as being award nominated, award winning, like. Make sure the text is in there, because that's SEO value. Make sure that it's on your website, make sure that it's on every single profile, make sure that it's in every single description, make sure that it's literally like SEO optimized. And then make sure that wherever you're describing it as an award nominated, right, award winning entry or whatever that might be, make sure that you're also giving information about the industry that you're in best performance voice actor, corporate narration, right or whatever, or best performance demo, reel, animation so it then allocates the other words that are important. So when people are searching for animation, voice, right and then all of a sudden, this will come up, as I'm so excited that my award-winning entry or award-nominated entry or whatever if something comes up or shows up in their search, that's going to lend its credibility and also hopefully lead to your website so that they can then inquire further or get an audition from you or find out more and contact you.  17:14 - Tom (Guest) Yes, I'll layer on top of that, like, for example, when I found out I got my One Voice nomination, I wrote a blog about it.  17:22 - Anne (Host) Yep, that's wonderful.  17:24 - Tom (Guest) So what that does is a number of things. Every time that you write a blog, you publish a blog, it adds another page to your website and All of the content on that particular website is saying voice over, this voice acting, that voice talent, this voice artist, that. So it's got all of the keywords that would further enrich the search engine optimization of your website, to make it more searchable and for it to rank higher. So just writing about it is extremely important on a technical SEO level. However, you don't want to turn it into a self-aggrandizing. Oh, look at me. It could be about a number of things.  18:05 - Anne (Host) It could be about the company that created the one voice in this situation, or about the company that you voiced for.  18:11 - Tom (Guest) Or about the company that you voiced for exactly. So a couple years ago I got a one voice nomination for a public service announcement I did for the Humane Society. Remember those 4,000 beagles were rescued from a lab in Virginia. A few years ago.  18:25 And then the American Humane Society got all 4,000 beagles adopted. So I auditioned and booked the voiceover for the public service announcement announcing that all 4,000 beagles were adopted. So when I blogged a few years ago back then about hey, I got this award nomination, it wasn't about the award, it wasn't about the nomination, it wasn't about me, it was about bringing awareness, it was about the beagle puppies. That's what it was about. I made it about the puppies.  18:53 - Anne (Host) And that's wonderful, because what's a better draw than animals, your fur babies, right?  18:59 - Tom (Guest) Yes.  19:02 - Anne (Host) Which is I lead all my award nominations with my cats there you go.  19:04 But that's an actual great idea, like somehow, let's just say, my Bengal Manx mix Sebastian, who everybody's gotten to know because they have their own Facebook and Instagram and TikTok right. So we could just say, oh, they're in my studio listening and then all of a sudden you can silently incorporate or just in the back end, incorporate that performance or that particular working on a demo for blah blah, blah blah blah For me on my website, because I advertise that I do demo production. Under the demo page, the landing page, I have all the awards and nominations that I've ever done and received, and for the VO Boss, because we've won awards for the VO Boss podcast and nominations. I also have it on my VO Boss website as well, as well as writing a blog on VO Boss about it. So absolutely trying to garner an award-winning podcast.  19:49 - Tom (Guest) Yeah, the other thing that I do is I make sure that I reached out to the production company that cast me for it, so my nomination this time was for North Idaho. College just a real tiny, tiny little postage stamp-sized college in the Northwest of our country and that one got nominated and it's a great. It's a great ad. It's beautifully shot, the editing is just superb. The music is perfect. You know, I'm probably the worst thing about the whole thing.  20:16 - Anne (Host) I love how generous you are. I think that's the way you need to approach it. They could just break apart and say it's your voice, but in reality, when you're presenting a product or a piece for an award, it's the whole darn shebang. If you think about it, that helps with that presentation. It's the media, the music behind it, the voice. It's all like a beautiful symphony in reality.  20:36 And so paying it forward and having gratitude for the other parts of it that helped you to win that award or that nomination, I think is a wonderful way to not appear to make it like a vanity thing, because you're showing appreciation for all of the components that help make it happen. I mean, whenever I make an announcement by the way, the other thing that I do to market is on social media, right so I'm highlighting the demo clients of mine that their voice has been nominated, and I'm also giving thanks to my audio engineer and in reality, it's like I could not have done it without you, to be quite honest, and so that then lends it to be a little less vanity ridden or sounding, I should say.  21:16 - Tom (Guest) Right, I mean in the Oscar Awards, do they go up there, accept the award, thank themselves and then get off the stage?  21:21 - Anne (Host) No, they're always thanking the people that helped them make it possible, really Exactly Also just from a technical and SEO perspective.  21:28 - Tom (Guest) Another reason why I like to let the production company know is because now they have the opportunity to use this nomination as marketing fodder for their own campaigns on their website and social media and newsletters and things like that.  21:43 So it's just paying it forward also on a marketing level. So the production company just has because all the voice seekers are as desperate to come up with quality content to put on their website and social media and their communications as us voice actors are. So to give them saying, hey, here's a free nugget of marketing gold that you can go do something with it helps everybody.  22:05 - Anne (Host) Absolutely. I actually got a statue. I got one of the awards for one of my partners on the podcast and shipped it. When I won this podcast I'm trying to think a couple years ago I also ordered an award for the person that I interviewed on that show and I shipped it, and that was actually for Alex Srdjak from Respeecher, so I shipped it to. Ukraine.  22:27 So I literally and that's how grateful I was. And it was really cool because when he received it, of course, what did he do? He took a picture of it with him, right, and then he used it for his own marketing, which I thought was really wonderful. So it kind of was like it all works for everybody involved.  22:42 - Tom (Guest) See, haters. There are so many great things about a voiceover award nomination and a win. There's so many great things that you can do, not just for yourself, but for the people that made the nomination possible.  22:53 - Anne (Host) Absolutely. You know what do you say to the haters? I mean you don't have to enter and you don't have to watch. I mean you don't have to enter and you don't have to watch awards and you don't have to participate. If you don't agree with it, that's completely fine. It's completely fine in reality, but for those that do, there's value to it beyond the award. Really, it's beyond the award and, like I said, even if you don't get nominated, if your coach or somebody says you should submit that for an award, consider that a win. Really. If you have a colleague that listens to this and say, oh my God, that was amazing, you should submit that. Right, there is an award for confidence, for somebody believing in you and believing in your work and thinking that it is worthy of an award, and that, to me, is a win right there.  23:36 - Tom (Guest) Absolutely.  23:37 - Anne (Host) So good stuff. Tom Dheere, Congrats on your noms.  23:42 - Tom (Guest) Congrats on your noms.  23:43 - Anne (Host) Yeah, thank you. And bosses out there, utilize this for good, for marketing efforts. And even if you just want to submit your work to your colleague and say, what do you think right, consider that your award submission for a job well done. And if you don't win, don't let it affect you. It has nothing to do with your worthiness, with your performance. It basically is something that you know. What if you don't win, try, try again. What is it If you don't?  24:09 - Tom (Guest) If at first you don't succeed try, try again.  24:12 - Anne (Host) Well, yeah, well, if you don't win, try, try again. That's what I say. I always think there's something good in a little bit of competition, right? That keeps us motivated and keeps us inspired to want to be better and do better. So allow that to help you further your career. So, whether or not you win an award, allow it to inspire and motivate you. So good stuff. All right, Tom, thank you so much. I'm gonna give a great big shout out to our sponsor, ipdtl. You too can connect and be award-winning bosses. Find out more at IPDTLcom. Tom, thank you so much, and bosses have an amazing week.  24:54 - Speaker 2 (Announcement) We'll see you next time. Bye, 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.   

There's a well-known statement from Rav Nachman Mibreslev: Ein ye'ush ba'olam kelal — that a person is never allowed to give up hope on anything. This statement is often used to give c hizuk to people who have been trying for years to achieve a certain goal, but haven't achieved it yet. They are told never to give up, because Hashem can always bring the salvation in the blink of an eye. To Him, it does not matter that years have passed without success. When the time is right, He will bring the salvation. This gives c hizuk to people to continue trying to find their zivug . Shidduchim can be one of the most emotionally draining areas in a person's life. The waiting, the disappointment, the confusion, the pressure — it can feel endless. A person may say, I've been trying for so many years and nothing is working. Maybe it's just not meant for me. Maybe I should just stop trying. Or a person may be trying to raise a family of good children who will be yirei Hashem , but it seems like he's failing. The children are disrespectful. They don't want to do anything their parents tell them to do. They aren't interested in growing spiritually. The parents have done everything they could, but they are getting absolutely nowhere. It's very normal to feel, what's the point? Why should I bother continuing to try if I'm not getting anywhere anyway? This applies in so many other areas of life as well. And usually, the c hizuk given is: things can always change in an instant. And therefore, we should never give up trying. However, there is a deeper understanding of these words, which was brought out by Rabbi Menashe Reizman. We do not continue trying just because we can be saved at any moment. We continue trying because that is the job that Hashem requires us to do . We are all workers in Hashem's world. Giving up is a decision that is made by a boss, not a worker. Hashem gave every person the exact life that he needs to fulfill his mission here. That mission entails doing what is right in Hashem's eyes — regardless of whether it is successful or not. How the final product looks is also the boss's department, not the worker's. Imagine there's a large factory with hundreds of thousands of products being produced daily. And there are tens of thousands of workers, each having a small part in the creation of the product. One person bangs in a nail. Another adds a screw. One puts on the plastic wrapping. Another puts the price sticker. It should not matter at all to any of those workers what the final product looks like. That has nothing to do with their job. As long as they are doing what they are supposed to do, they are successful in their mission. We must internalize that we are all workers in Hashem's world, and we will be considered successful as long as we continue working. The final product is Hashem's business. If a shidduch happens — that is up to Hashem. But as far as we are concerned, we are supposed to continue trying and trying and trying again. Whether or not children will listen to their parents or be religious is Hashem's business. But as far as we are concerned, our job is to always be the parent that Hashem wants us to be. Hashem put each child exactly with the parent that He wants to raise that child. He chose the parent — with his personality, with his strengths and weaknesses — because that is the parent that the child needs in order to do his job. And the parents get the exact children that they need to do their job. It is very gratifying when we end up getting what we want or when we see the fruits of our labor. But that is just an added bonus. It is not the reason we continue trying. We do everything in this world for the Boss — and the Boss wants us to work, and never give up. Ein ye'ush ba'olam kelal.

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John and B review GCW's "Boss of all Bosses" and preview "Bash At The Ballpark"

Recorded live at the PSE-CEPR Policy Forum 2025.  Go back six or seven years and working from home was an exception. Bosses discouraged it, contracts didn't mention it, and we didn't have the technology to do it.  Covid changed all that. But since then, how have work patterns changed? Should we believe the press reports that we're all being summoned back to the office, or is remote work now part of our lives – and what does that mean for employers and employees? Steve Davis of the Hoover Institution and SIEPR has been measuring the evolution of flexible working since the pandemic. He spoke to Tim Phillips about the far-off times when little work was done at home, who is taking advantage of the change in the way we work, and who benefited most from the Great Resignation and the changes in hiring and outsourcing that followed it. 

BOSSes, are you ready to nail those voiceover auditions? In this episode of the VO Boss podcast, Anne Ganguzza talks with special guest Kelly Moscinski, owner and head of casting at The VoiceCaster. Kelly, who oversees thousands of auditions, reveals what truly stands out to casting directors and how you can stop being predictable to book more jobs. Get ready to transform your approach to commercial auditions with invaluable insights straight from the source!   00:00 - Anne (Host) Hey bosses, Anne Ganguzza here. Are you ready to take the next step in your voiceover career? At Anne Ganguzza Productions, I specialize in target marketed coaching and demo production that gets you booked. If you're thinking about elevating your performance or creating an awesome demo, check me out at anneganguzza.com.  00:22 - 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 and gang guza hey everyone, welcome to the vo boss podcast.  00:44 - Anne (Host) I'm your host, Anne Ganguzza, and today I am thrilled to welcome very special guest, Kelly Moscinski. Kelly, the owner and head of casting at the Voice Caster, which, very impressively, is the oldest voiceover casting house in the country, established in 1975. So, with almost 20 years of experience in voiceover and even more in entertainment, Kelly casts and directs all things voiceover. She's also a coach for voice actors, teaching group classes, private coaching, and I am so excited that she's going to be teaching a VO Boss workshop coming up on July 16th, which I am super excited for. She is also the founder of the VoiceCaster Lab, a digital VO training and community platform offering a variety of learn-at-your-own-pace courses, seminars, a membership community and other resources dedicated to giving voiceover artists the chance to learn from the casting perspective, which is so, so important. Kelly, it is absolutely wonderful to have you here today. Thank you so much.  01:43 - Kelly (Guest) Thank you so much for having me.  01:45 - Anne (Host) I am just excited to chat with you. It's been I feel like it's been not so long ago that I saw you, but, like we always, we're like we kind of just pass each other because we're always like on these schedules which are insanely busy, and I always think that you know, I think I'm pretty busy in this industry, but my goodness, you're doing an awful lot over there at the Voice Caster with your classes and you've got all sorts of fun new things that I've seen you come out with this year. So for the bosses who are not familiar with you, let's let's kind of start at the beginning and tell us a little bit about how you got started in the industry and your casting journey. What led you to the voice caster?  02:24 - Kelly (Guest) For me it was, you know I did. I did drama club, you know theater in high school. When I went to college I originally went to school for pre-med. I wanted to be a psychiatrist, so I was focusing on psychology and then from there it was just. I was so involved in the theater department and eventually, after, after a little hesitation, I decided to get my degree in theater instead of following the pre-med path I had.  02:51 And then I got my master's degree in writing and you know it was kind of while I was working on that that you know I had friends. I was doing a ton of directing. So I just had some friends who were like working at local radio and TV stations. They'd ask me for advice on an actor. You know I need this kind of a voice for a spot, you know. So I was starting to do some voiceover before I even really realized what I was getting into. And then I moved out to Los Angeles and you know I had actually interviewed in the same week at voice caster and at a talent agency the same week at VoiceCaster and at a talent agency. Talent agency wanted to bring me on as an agent and VoiceCaster wanted me to come on as a casting assistant and I was like you know what I feel like casting is my calling. You know, I get to, I get to cast, I get to direct. You know there were opportunities to teach. You know, like, all of the things I wanted were kind of all in one with VoiceCaster. And, you know, as soon as I walked into the office, I was like, yeah, this is home. And so I kind of knew right away. And then that was in 2009.  03:55 In 2013, the previous owner, huck Liggett, came to me and said I'm retiring, I'm gone in two weeks. Do you want to take over? I've had other offers. Yeah, he's like. I had other offers, a lot of money, he's like, but I don't want just anyone to take over. Wow, and so he's like, if you don't want it, we're closing down the doors. Wow, yeah.  04:20 - Anne (Host) And wow, what a compliment.  04:22 - Kelly (Guest) That's amazing, wow, yeah yeah, and it's funny because I actually had just gotten back from a week vacation when he came to me on that Monday and like he's like pulled me aside. I thought I was getting fired, I was like oh no, what's going on?  04:36 Like what did I do?  04:37 What happened while I was gone? It was only a week. Who knew it was going to be the next big step in my career? And yeah, so, within, within within two weeks, I took over completely, so it was a very quick transition but, like I said, as soon as my foot stepped in that office, I just knew that this is where I was going to going to be.  04:59 - Anne (Host) You know it's, isn't that? Isn't that funny. It's like when you step into a home, when you're buying a home, and all of a sudden you're like, oh yeah, this is it. I have so many questions because you seem to just go from like, oh, I went to school for, and then I went into education and then went into voiceover and did you get any pushback from people in your life that said, hey, it's obvious that you have multiple talents, and there's always those people, kind of the naysayers, that are like, really Like theater or the arts. There's always those people, that kind of the naysayers that are like really like, yeah, theater, or you know the arts. And so tell us, did you have any pushback from, let's say, you know, family members or loved ones about that?  05:53 - Kelly (Guest) Yeah, absolutely Absolutely. You know, it's one of those things where I I originally was like, oh, I can't just go into theater, so maybe I can, maybe I can teach theater. So I decided to take the education track, kind of in between that and within like three semesters, I think I I basically I had all of the classes I had needed for an education degree. I just never did the student teaching, so I could have gotten my education degree as well. But instead I was like no, I just I want to commit to this, this is all I can see myself doing. So why? Why have the plan B? You know, it's like when you have plan B, you fall back on plan B and it's like I don't, I'm not, yeah, that's it.  06:36 - Anne (Host) That's a really, that's a really great perspective.  06:38 I like that Because you, you felt it and I think you and you went for it and that's that's so.  06:45 I love that because I feel like I'm kind of that person too, like, if you feel so strongly about it, I feel like, well, that's where I'm supposed to be and that's where I should be, and I feel like my work ethic was there to drive it to the place where it needed to be. And I think a lot of times I never second guess my work, my intuition, my gut feeling I feel like that might be the same thing for you, absolutely, absolutely. So then, along the way right to becoming like, first of all, to have someone say to you I'm going to close the doors if you don't take over First of all, that's what a compliment. And and so obviously I mean there was, there's just a ton of talent there, did you have? Have? It sounds like you had no hardships a long way, but I feel like you might have, like I definitely did so tell us about maybe you know a hardship or something that was a challenge for you.  07:42 - Kelly (Guest) Yeah, yeah. So I mean, first of all it was, you know, through through college my dad was battling leukemia and so it's like he was actually in a hospital in the same city that I was going to school, and so you know I was going over there every day before rehearsals, after classes, you know, anytime I could kind of sneak in, I would go over to the hospital and see him.  08:05 You know, and it's like he couldn't come to my graduation, he couldn't come to some of our shows because just too many people. And you know, and it's like he couldn't come to my graduation, he couldn't come to some of our shows because just too many people. And you know, when you're going through cancer treatments you have to be careful of that Part of I stuck around to get my master's degree. I think I would have probably left after my bachelor's degree, but I stuck around to get my master's degree. I started dating my now husband and so I was like I guess I'll stick around for this guy, I'll stick around for my family, you know.  08:33 And I was originally going to go to New York because I wanted to work in the Broadway world, you know. And then he actually convinced me, my husband, travis, convinced me to come to LA. So we moved to LA with nothing and it took me. I sent out back in the day when you send out, you know, cover letters and resumes through the mail.  08:54 - Anne (Host) Yeah, I remember those days, Not email.  08:56 - Kelly (Guest) I do remember those days I sent out over 350 just different casting offices, talent agencies, knowing like this is where I want to be and I can be a very determined person. It can be challenging and, you know, it's like we went through all of our savings, like we had nothing. And it was very much one of those things where I'm like okay, I took a theater job here, I took another job here. It's like I started to work, you know, retail customer service it lasted about three days and then a theater job, you know, and then a theater job fell in my lap.  09:33 They weren't willing to work with my theater hours, so I was like, well, I'm going to take the lower paying job because it's what I want to do. And that's actually how I met Catherine originally, and you know so it's like I was just taking all these things that I could stage, managing, you know things like that. It was like we have to do something to make money and it's like sure, luckily, you know, my husband was like he does construction as well. So he ended up working for a couple of TV shows where he was building sets. And then Huck called and he was like I have been hanging on to your resume since I got it last June and just waiting for an opening. So it's like he kind of knew this was perfect.  10:13 It came at the perfect timing. You know, it's one of those things where I'm like I always feel like things fall into place exactly when they're supposed to. You know, when they're supposed to, we yeah, we were in that limbo of like are we really going to make it here? You know, like we're going to have to start borrowing money from family or something soon. Like what, what are we doing? Like this is crazy. So yeah, then, then you know, voice caster fell into place and there's that determination.  10:43 - Anne (Host) I think that that came through. Yes, yeah, that's so interesting because I mean I have a little bit of a similar story when we moved out west, I mean from the East Coast, and you know, we moved out for a job for my husband and ultimately, nine months later, he got, like you know, he got laid off. And so then everybody said, well, when are you coming back? And I'm like, no, no, no. And I was like, oh, by the way, I quit my job in education and said, oh, I'm going to try to do this voiceover thing full time. So, Jerry, you're going to have to, like you know, float me for a little bit. And, interestingly enough, we just determination. I was like I am not going back because I love the weather too much and I really was starting to love.  11:23 California, I was like I don't want to go back to the snow and the property taxes, but I did love the East Coast but yeah, and it was like I was just determined to make that work. So, yeah, good for you. I mean wow. And so let's talk a little bit about casting and your love for casting and you said in your bio connection beats perfection every time. I'd love to hear you elaborate on that in terms of, you know, casting either a voice talent or just any kind of talent.  11:58 - Kelly (Guest) Honestly, that is kind of my theory in life. You know, I mean it's in voiceover, it is just in life. You know, it's one of those things where so often I feel like we all strive for some sort of level of perfection. I'm guilty.  12:13 - Anne (Host) Yeah.  12:13 - Speaker 2 (Announcement) Oh, me too.  12:14 - Kelly (Guest) Me too, and it's something that we set for ourselves. You know, it's like we set this bar for ourselves. Nobody else is telling us what perfect means, you know. So it's like we're putting these things on ourselves. And you know, it is one of those things where I always say 70% perfect is perfect. It does not have to be perfect. You know, done is better than perfect. Connection over perfection is my way of saying. I would much rather hear you connected to the script and connected, having a point of view, having an intention having an audience.  12:56 All of that versus every word being perfectly articulate. A few weeks ago I actually just I cast somebody in in a in a. It was a commercial and she actually slurred a word. Most people wouldn't even submit that audition, right, it's like Ooh, I got to clean that up. No, it was one of those things where so often now I am hearing clients say we want to hear the humanness, we want to hear the imperfections, we want to hear the flaws. So it's not about being perfect. They'll make you perfect in the session If you want to book the job. It is more about having that connection and that's something that we can hear in those first three to five seconds that we listen to.  13:30 - Anne (Host) Oh gosh, yes, I love that and I love that you say that, because I mean I always in my, in my, in my genres that I'm that I'm kind of known for in corporate narration and e-learning everybody thinks articulation is, you know, they have to say it perfectly. I'm like, please don't, because that's super robotic and super boring and it just it's not something that that people like to listen to for any length of time, maybe for a few words. I can handle it if you do something articulately. But I'm that teacher that will say, please, I mean, don't. I mean I just need to understand you, but you know, slur it a little bit, like jam those words together.  14:06 I don't, I don't need to hear perfection at all. As a matter of fact, please don't. I just I can't, I can't listen to more than a sentence of it. And so I love that you say that as well, because I think really and you also, you know, talked about hearing that from the very beginning, like from the first words of the script you can hear it if somebody is not connected and you can hear it if they're just kind of glossing over the words or reading the words. Let's talk a little bit more about that the importance of, because in in our workshop, which I'm going to have you talk about in just a minute, I mean it's all about auditioning for your, for commercial genres, and so what is it that gets listened to? What is it that that books the gig or gets them shortlisted?  14:47 - Kelly (Guest) Yeah, it comes down to personality. It comes down to you know? Do they sound like they have an opinion? Do they sound like they're connected to the copy? Is there something else going on besides? I'm reading a commercial script. You know so. We hear so many commercials. You know we have all heard thousands and thousands of commercials that when we look at a script, we know what it's going to sound like. Yes, it's like there's a melody in our head that we play. Oh, it's such a battle then to get out of it, yeah.  15:16 But really like that's not the read, that's going to book the job right it's going to be the thing that is just uniquely you, where it's like oh wow, the final spot would never be like that, but you showed the personality, you made the choices, you had the commitment and that is what stands out. That's what books you the job. And then you get into the session and that's when they're like okay, well, let's clean this up, let's smooth this out, let's inflict, and all of a sudden it sounds exactly like you heard in your head, but you will not book the job if you give that read.  15:47 - Anne (Host) Because it's boring. Can we just? Let's just say that one more time for the bosses out there, Because I've had so many students say, but that's not what I hear and I'm like, but that's not what I'm teaching. I'm teaching you to audition and get the job first, and then whatever happens happens. I mean you don't need me as a coach to tell you what it sounds like in your head. We all hear it and I think we all innately know what that melody is and you don't need me to coach you, but you need me to coach you how to be an actor so that you can get the job. And then ultimately I love that you said it does A lot of times it will end up sounding like what we heard in our head. But to get the job you've got to show the people that are listening, or at least get their attention, because everybody else hears that same melody in their head. And if you're listening, tell us what it's like to listen to 200 auditions in a row with the same melody, with everybody just being predictable. I think it's the person that you know.  16:42 And let's talk a little bit more about point of view, because I think sometimes people don't understand what point of view means, and especially when it comes to commercial. Well, shouldn't I have a point of view, that is, of the company that I'm working for? Or how do I have my own point of view, and why does that matter? And so people would ask me that as well. Why should I have a point of view when it comes to e-learning? Why should I have a point of view when it comes to corporate? Why should I have a point of view for an explainer? Let's talk about point of view.  17:07 - Kelly (Guest) Yeah, so point of view. There's a few different parts to it. So first of all there is. You know what point of view are you coming from? Are you coming from the company point of?  17:18 - Anne (Host) view.  17:18 - Kelly (Guest) Are you the pro? Are you the expert? Do you know what you're talking about? I can tell you that you know for certain products, you have to be a certain level of expert on the product, otherwise, you know, how are we going to trust you?  17:33 - Speaker 2 (Announcement) when you're talking about.  17:34 - Kelly (Guest) You know medical or pharmaceutical, or you know something like that, where it's like we need to be able to trust you. However, there's also the other side, where it's you are the user. Did you just discover this and you're excited to share it, or have you been using it for a little bit and you want to share it with your friend or you know? So it's like you can either be the expert or you can be the real life user of the product. So usually, especially if we're sticking into the conversational zone, then you're going to want to be the user. You don't want to, even if the script says our product blah, blah, blah, or we do this, blah, blah, blah or we do this, like when it's very clearly from the brand point of view, you still need to. Your point of view should still be more personal than that.  18:16 - Anne (Host) Exactly.  18:22 - Kelly (Guest) You know the product, you love the product, but also having an opinion, you know, and it's like not just the anticipated opinion or the typical opinion, it right. It's like if there's something in the script that is like, wow, this is really cool, like then let us hear how cool you think, that is Like that's something that's going to stand out. It's going to be different when other people do. You know, it's like so many commercials they have three product features, right, and so it's like some people say, oh, we'll build each of those or give each one a little bit of a different. You know coloring or you know things like that. And it's like my thing is which is your favorite? Yeah, absolutely, tell me which one is your favorite.  19:03 - Anne (Host) That's going to stick with me more than anything else from a company standpoint, unless you're in some sort of a parody or a character dialogue right where you're going to be angry about it or you're going to be mad about it, or you're going to be crying about it or you won't like it. Right, for the most part, you have to come from that place of authority. You have to like the product, you have to believe in it, and I think that's where the shades of the point of view of you can come through. That and you can make that choice. Like I like how you said, like some people will be like OK, there's different shades of your point of view for different features, but I think as an actor, you make that choice. You make that choice about what do you think is a little bit more important than the other. Not that they're not you know, features are not important but like, maybe one you like a little bit better than the other. No-transcript, no-transcript in front of you, I think.  20:15 - Kelly (Guest) Yeah, yeah.  20:16 - Anne (Host) Point of view, I think is so, so important, and especially coming in with a point of view in the first few words or the first line. And so let me ask you, out of so many auditions that you would get, how often do you listen to the entire audition, do you? I mean, can you just yeah, like you know right?  20:34 - Kelly (Guest) away, I know. So everybody gets about three to five seconds, you know, and that is also why I say like lead, lead with your riskier, take your bolder take the one with the personality, because you only get three to five seconds. You know, on any given project, I have usually between 400 and 1200 auditions.  20:53 - Anne (Host) Wow, that's a lot it gets crazy.  20:56 - Kelly (Guest) Yeah, yeah. So it's like I can't give people more than three to five seconds. So then from there I'm sorting all of the auditions. Once I narrow it down, then I will look at the people that I, you know, passed on to the second round, and usually by that point I have like 100 left, maybe 150.  21:13 - Anne (Host) Wow, and then I will listen to. I'm just thinking. I'm taking the lower number right 400 auditions and you give them five seconds a piece. How long is that I mean? How long does it take you to? You know what I mean? Is it a day? What does that break down to? Hours?  21:27 - Kelly (Guest) Start to finish in a project like that, I mean I can. There are some projects I mean on the lower end. It's like I can knock them out in a couple hours. Yeah, yeah yeah, so that's a lot to listen to in a couple hours.  21:38 - Anne (Host) Yes, so that's why leading with the riskier one, leading with the one that is even. Sometimes I'll even say it's got to be a different melody.  21:52 - Kelly (Guest) But I don't want you to think about it as a melody, right? Think about it as a different point of view that drives the fact that it sounds different. Yeah, yeah, you emphasize a different word because you have a different intention on that take, or you know, yeah, things like that and I love that.  21:59 - Anne (Host) you said like I. Actually, you said that there was a slur on somebody that you cast. And the funny thing is is I have a favorite corporate corporate video that I play when I speak at places and I talk about corporate and how it really is storytelling. And one of my favorite corporate videos is voiced by an artist that has a rasp and a lisp and she slurs her words a little bit and it's the most beautiful take because her point of view is nuanced and it actually brings you along this journey throughout this two minute, this two minute video, and you don't even have to watch the this two minute, this two minute video. And you don't even have to watch the video, you can just listen to it.  22:38 It's so nuanced that I thought to myself gosh, I usually will give somebody the script and I'll say well, this, this is super easy to just say conversationally, right, but she had so many different notes of so many different points of view that she just really told the story and I think that that is the most important thing. And when it comes to commercials, let's talk about stories in commercials. Are you a believer that every commercial has a story to tell?  23:07 - Kelly (Guest) Yeah, yeah, you know it's one of those things where it's like there is the commercials happening because there is something either new or improved right, so it's like there's always a problem and solution. And so, you know, the problem is because things are happening to real people, so it really is figuring out the story and that's why, you know, having that point of view, but also an intention you know, your intention is obviously not to sell, right? I mean, of course it is, it's a commercial.  23:36 - Anne (Host) But I have to sound like you're selling.  23:37 - Kelly (Guest) Exactly, exactly. You're either getting them excited or you're reassuring them, or you're informing someone, or you know there's so many different things that you can play that are not to sell. But yeah, it's absolutely telling that story. You know, even even in the short scripts, you know there's still something behind that.  23:55 And part of your job as an actor is what is that? What is that pre life? You know, it's like I always say a commercial should be thought of like a slice of life. It is mid conversation. Something is happening before this that prompted you to say this to somebody. Something is going to happen after this.  24:12 - Anne (Host) And there's pre life, I think, for every genre. Somebody, something is going to happen after this. And there's pre-life, I think, for every genre for every script really Absolutely.  24:17 And I think there's pre-life also which I try to teach, because if I'm doing longer format narration, you can't forget about life in the middle of the script or life three quarters of the way through the script, because a lot of times people will just slip back into that kind of melody and it's really hard to keep someone engaged. I mean, you think it's hard to keep someone engaged for 60 seconds, right? I mean, try to keep them engaged for a couple of minutes and that is. I think that the pre-life can happen before many sentences in that script and I think that it's important to consider that as you go through the script, that it's important to consider that as you go through the script. So what would you say is the biggest mistake that voice actors make in their auditions?  25:07 - Kelly (Guest) Either just is an immediate dismissal or sometimes angers you. So two things come to mind. First thing is labeling following the instructions. First thing is labeling following the instructions. Like it sounds so basic, but out of 400 auditions I'll usually have at least 20 or 30 who aren't even labeled correctly. So I don't even give, I don't even give them five seconds, they just instantly are like nope, I'm done. They couldn't follow instructions. So that's number one.  25:30 - Anne (Host) Isn't that funny. That's your number one.  25:31 - Kelly (Guest) I know, I know.  25:34 - Anne (Host) Yeah, follow instructions. I'm like that too. I'm like my God, if you can't even name it right, yeah, yeah, because that's. I feel like I will take that as a personal insult to my time, because I literally, if I can't 400, you said 400 to a thousand. Yeah, oh, my goodness, I can't imagine, like, handling a thousand files and if they're not named correctly, right, and you can't like organ. I mean, it's so, organization is so important when it comes to, you know, figuring out who am I, you know, who do I like? Here's my shortlist, here's, you know, who are you going to recommend? And I think, yeah, file naming is so, so darn important, and I don't understand why it's so difficult sometimes that's how I am too.  26:17 - Kelly (Guest) I'm like oh, I try to keep it so simple in our instructions.  26:20 - Anne (Host) you know and you know but okay, so file naming is one, what's another, what's another?  26:25 - Kelly (Guest) The other one is trying to be who you think we want you to be, giving us the read that you think is the right read or the read that we want, I will tell you that we don't know what we want. The client doesn't know what they want. It's like they might have an idea, but sometimes they hear something different and they're like oh, that's brilliant, and so don't try to be what you think we want you to be. You have to be yourself, because what we want is you as you are you?  26:57 - Anne (Host) know authentic unapologetically, you and I think sometimes would you say that the creative process is not complete yet. A lot of times we think we're the last, we're the last to be hired. And so I feel sometimes when people are like, well, I didn't expect that, you know, I auditioned for that and I did not expect that one to book the job, when I feel like, even if the casting specs, if it's something completely different than the casting specs, so would you say that if somebody writes the casting specs nine times out of 10, does it turn out to be different than what they're looking for?  27:28 - Kelly (Guest) or yeah, or some variation of it, because you know, you've seen the specs where they're like, oh, we want it really like mellow and laid back, but it has to have high energy and be upbeat. And it's like, you know, the specs contradict each other and so it's like, well then, what do they want? Typically, that's because there are multiple people in these meetings and it's like, oh okay, one person wants it laid back and mellow, another wants it upbeat, with high energy, and so those get kind of mushed into one. So that's kind of you know, you don't know what they want, because there are six people deciding and they all want different things.  28:05 - Anne (Host) Ah, yeah, right, so it's not always just one person that's deciding. And let's talk about the copywriting, because there's a lot of times when the copywriting doesn't match what the specs really want, like, they'll say, conversational, but yet the writing will be very silly. And so what? What is your best advice for voice actors in that case?  28:27 - Kelly (Guest) Yeah, so a couple of things. First of all, I always recommend recording a couple of takes before you even look at the specs. You know. So it's like you do whatever, whatever your instinct is, and then look at the specs and see you know how that changes. That might be a different take, it might be you scrap all the other stuff you know all together.  28:48 But it is tricky when it is written as an announcer script introducing the all new blah, blah, blah, you know, and it's like, oh, but we want it conversational, super casual you know. So it is a matter of you know. I always say subtext first of all, so instead of introducing, it's like hey, check this out, or you know kind of substituting that in your mind Making sure I think the biggest thing when they're asking for conversational authentic is making sure that you are still connecting, you still have that point of view.  29:20 You still have that intention. It's really easy to lose when you have a word like introducing or something that's very selly.  29:29 So it's kind of, you know, still keeping that story, keeping all of the, the acting elements in there is key. And then if you find like, ah, I can't get out of this, it's just sounding so silly, it's sounding so announcer-y, then honestly lean into that and do a take or two like that, because then you have it out, you have it there and you're not fighting yourself. So it's a little easier, once you get that out, to then try to try to just bring it in a little bit more and personalize.  29:59 - Anne (Host) Would you, would you then recommend to maybe have that take as the second take? Yeah, like, and if you are encouraging people to do more than one take per audition, absolutely.  30:10 - Kelly (Guest) Yeah, if it's your only take to send, I wouldn't do it because they're going to be like I didn't follow directions. But absolutely, especially if you know, a lot of times we ask for two or three takes, that'd be a great second or third take, you know especially if you know it felt good as you were doing it, Then yay, and you're going to be doing a VO Boss now, because VO Peeps is now merged into VO Boss.  30:37 - Anne (Host) but you're going to be doing a VO Boss workout for commercial auditioning, so talk a little bit about what we're going to cover in that class.  30:44 - Kelly (Guest) Yeah. So one of the things going back to these three to five seconds, that is something that I want to make sure that we cover. So I am actually putting together, I'm stringing together three to five seconds of multiple auditions, 5060 auditions so you can hear what I get to hear on the casting side.  31:02 - Anne (Host) So love that.  31:03 - Kelly (Guest) Yeah, so you it. That's. That's a gem. You'll be able to hear if if people are connected or not. You'll be able to hear I love that everything that you can hear. And then I'll play the final. You know, I'll play the audition that booked it and then the final spot so that you can kind of see, you know, how things change throughout the process. But I think kind of giving you a glance into the casting side.  31:26 - Anne (Host) Yeah, I love that.  31:27 - Kelly (Guest) Will help you realize like, oh, okay, it's like I can say it a million times, but until you hear it it's not going to stick. And then you will never look at the opening sentence of your auditions the same again. You know it's going to transform how you read and what you submit.  31:44 - Anne (Host) I feel like that is probably one of the most important things is that very first sentence and I always talk about.  31:50 I talk about it in terms of like melody, in terms of singing, like if you just start with the first word and you don't have a pre-life, it all starts pretty much on the same note and I feel like that's not, that's not necessarily in starting it in the right way or starting it in the way that's going to showcase the fact that you are, have a pre-life and that you're connected and you have a story to tell and a purpose, and so that's very I'm very excited about. Wow, that's going to be really, really valuable for our listeners, so very excited about that. Bosses, I'm quite sure, by the time we air this, that we may be sold out. I'm not sure, but you can always check out vobosscom and we'll be having audit tickets as well as participants. So I'm so excited, Kelly, that you're going to be doing this and tell us a little bit about because we kind of do similar things. I mean, we have a membership, we have a community, we coach classes. Tell us a little bit about your classes and your community.  32:50 - Kelly (Guest) Yeah, yeah, absolutely so. Through VoiceCaster, we have all different levels of classes, beginning to pros. We do commercial, we have animation and video games, we have an accent class. All of those are live classes that we do. Most of themover learn at your own pace course, as well as our signature Finding your Authentic Voice course as well, and you know so. Those are both learn at your own pace kind of a thing. And then, on top of that, we also have our VoiceCaster Insiders membership, which is an online community. We do weekly workouts open to all members. We do monthly calls for any. You know q&a, all of that. We do monthly challenges where you can, you know, working on different parts of the business, performance, business mindset. You know all of that. And we do prizes at the end. And then nice.  33:53 Yeah, and then we have daily things. So we have like our Monday motivation, our take action Tuesday, wednesday wisdom, you know. So it's like we're doing things seven days a week and yeah, it's just, it's been a great community for people just to kind of have a place to go as a sounding board and you know, doing, doing the workouts and you know all of that, sure. So yeah, that's that's been a lot of fun for us, as well as the workouts and you know all of that, sure, um, so yeah, that's that's been a lot of fun for us, as well. As the members and myself, ben and katherine, are, you know, active in there every day. So yeah.  34:23 - Anne (Host) So I'm gonna ask you what people ask me. How do you do it all? I don't sleep yeah, I hear that I hear that, yeah, that's lot, that's a lot.  34:35 - Kelly (Guest) Yeah, it is, it is a lot and it's, you know, it's really prioritizing my days. You know, kind of figuring out as much as I can, because you also know like we're in a business where things change real quick and it's like hey, I need to get somebody in for a session. Hey, I need this casting done by yesterday. Hey, you know putting out fires but trying to, you know, have have my set schedule as much as possible as well.  35:00 - Anne (Host) Well, oh my gosh, it's been so, it's been so nice talking with you.  35:04 - Speaker 2 (Announcement) I really really enjoyed this conversation.  35:06 - Anne (Host) I'm very excited about our workshop that's coming up guys July 16th and check that at VeoBosscom and, I guess, leave us with your one best piece of advice for anybody new coming into this industry. What would you recommend?  35:22 - Kelly (Guest) Be you, be uniquely you. Whatever makes you you. Be that and always you know in everything that you do. I mean that's life advice, but it's also voiceover advice. You know it's like, just be yourself. You know, if you are determined, if you have the passion, if you have the love for this industry, then show up as yourself, and that is going to take you further than anything else.  35:50 - Anne (Host) Love it, love it. Thank you so much again, bosses. 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. Guys, have an amazing week and we will see you next week. Thank you, Thanks.  36:08 - Speaker 2 (Announcement) Bye. 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.   

What if the key to growing your business isn't working harder, but building smarter systems that do the heavy lifting for you? In this episode, Karl Staib reveals how proactive communication systems can save you hours each week while preventing costly problems before they spiral out of control. Whether you're a solo entrepreneur or leading a team, these practical strategies will help you stop chasing information and start creating magnetic systems that your team actually wants to use. Key Highlights from the Show 1. The Power of Proactive Communication Systems Karl emphasizes that the #1 strategy for business growth is creating proactive communication rather than reactive follow-ups. Instead of constantly chasing down information from employees or contractors, establish systems where updates come to you automatically. This simple shift saves time, reduces stress, and creates consistency across your operations. 2. The Friday Morning Update System Implement a simple but powerful system: have team members send you updates every Friday morning by 10 AM covering what's working well, what's not working, and what they're doing to improve situations. The key is responding back consistently to close the feedback loop and show you value their input. 3. Connected Systems Drive Business Success All business systems should connect and communicate with each other. When sales, operations, and customer service work in silos, problems compound. Bill shares examples from nursing homes where connecting clinical, admissions, and financial systems dramatically improved overall performance by helping each department understand their impact on the whole. 4. Building "Magnetic" Systems People Want to Use The most effective systems are ones that employees are naturally drawn to use because they see clear value. Focus on creating systems that make people's jobs easier and help them succeed, rather than systems that feel like additional burdens. When people understand how their work connects to company success, they become more engaged. 5. The Appreciation Gap Solution Address the massive appreciation gap in business: Only 15% of employees feel appreciated, while 85% of leaders think they give enough appreciation. That's a huge gap! You can learn about my system to solve this issue and how you can apply it to your leadership style. You can get the Quick-start Ai Operations Guided and customized Chat GPT to help you integrate AI into your operations (as well as other systems guides). As always, if you have any questions or want to submit a guest for the podcast that you think would be amazing, just reach out to me on the Dig to Fly website, and I'll do my best to get them on. If you enjoy the interview, please take 30 seconds to rate the Dig to Fly podcast on your favorite platform. Thanks! Listen to similar episodes that will help your career: The System That Will Keep Your Business—and ADHD Brain—on Track Leaders Need to Ditch Conventional Messaging with Mark Levy

In this episode, we discuss a recent research project from UKG that exposes Gen Z gets AI—and they think their bosses don't.

Tuesday Headlines: Trump threatens Russia with ‘very severe tariffs’ as he unveils new weapons plan for Ukraine, former Greens candidate Hannah Thomas to front court today as police investigate threat video to Melbourne tech business, German backpacker shares a heartfelt message to Aussies from her hospital bed, more than a third of young Aussies are exploited by their employers, and a Sydney man has been charged after trying to pinch the Stone of Scone in Scotland! Deep Dive: Brad Pitt, Johnny Depp and Chris Brown have all faced allegations of abuse - yet remain in “pass baskets,” where fans overlook their problematic track record and continue supporting their work. In this episode of The Briefing, Helen Smith speaks with sex and relationship expert Georgia Grace to unpack why we keep putting celebrities in “pass baskets” and what it says about fame, accountability, and cultural change. Follow The Briefing: TikTok: @thebriefingpodInstagram: @thebriefingpodcast YouTube: @LiSTNRnewsroom Facebook: @LiSTNR NewsroomSee omnystudio.com/listener for privacy information.

The numbered list proved too might for one podcast! We needed a second one!

Oh that's right. Lorne Michaels doesn't sound like Austin Powers— He sounds like Dr. Evil. Dead wringer. I don't know how I could mess that up. The Mike Meyers part? Was he both of them! I don't know— was he?? Jesus ChristS This is all your fault, Seth Meyers. Are you— a cinephile? Oh yeah. Of course. I love cinnamon. Idiot. So my insides get soft When I see your shadow Listen Everything glistens when it's golden Perhaps then If it isn't yellow She don't got a soul But she sure do got a body Dor dor nyc TRACY MORGAN OH YEA. I DID SOME WEIRD SHIT THIS MORNING. Tracy! What weird shit! I don't know! I just know it was weird! Wait, Tracy— what happened this morning. Well, the first thing was— I woke up. Yeah, after that. But not in my normal places that I wake up! What do you mean. Well, that was the first thing that was weird! I woke up in BROOKLYN. Why anything I like gets odd at Bedford And why Anything I like Just thinks I'm scum Imm succumbing to the numbness of the public And I love it But I love it cause I'm wholly made of love I don't even live here This place is filled with demons My home is filled with dead things The difference is the spirit We also come light hearted m We also formed from stardust I wonder what's SETH MEYERS finally gets out of the box, The problem is now, that he's marooned on what appears to be a desolate island. It's not entirely desolate, however— this is SUNNI BLU's island, on which there is a huge days long party Props for having a white mom I bed she adores you I can tell by your clothes And what you know That you're not Supposed to My mom Had no rules But was beautiful Suited me, But I'm not beauty queen Really I'd rather have a white mom I'd probably be discovered on Girls gone wild {Enter The Multiverse} If my Shazam can hear it bro it's too loud. Fuck this place. SETH MEYERS You blacked out under the Christmas tree. SUNNI Oh. I'm sorry— SETH MEYERS —but first you put up a Christmas tree. SUNNI Wow! #theblackout SETH MEYERS Yeah, i'm—seriously impressed, but.. SUNNI —-but what? Seth Meyers SETH MEYERS I—just don't understand how you got into my house. SUNNI Through the chimney, obviously. SETH MEYERE That's—I don't even have a chimney. SUNNI Yes you do! (He doesn't) Alternately: Or— (Didn't , previously, however—) SUNNI BLU has a CHIMNEY installed for an elaborate pranking, however, —DIE— ! Ok. —Due to the elaborateness of this prank, belligerent drunkenness then insued, which resulted in— SUNNI —well, were there presents? SETH MEYERS I mean; besides yourself? SUNNI Is what I'm asking! SETH MEYERS Yes! And they were really, very nice, but look— GOTH SETH ROGEN is killin it. Was this not about to be GOTH SETH MEYERS? By some awful Freudian slip, yes, it was— but that can't happen , Why not? Cause that guy's still locked inside a hot metal box. Actually, I'm not, Whaaaaa?? I'm like— on an island. Oh. Yeah. That's right. Marooned. On an island. That sucks. Yeah. So why can you hear us, like? I just figured imm hallucinating. Oh. Right, right. He doesn't know he's on the TV? I don't think so. Oh, I know I'm on TV, it's just— Shh. Let's get out of here before he— Actually, let's just turn this off. *off.* Phew, dodged a bullet there. Close one. Yikes. Thank goodness. This is getting meta. —aaand i'malone again. Christ CHRIST appears beside Seth Meyers on the island. Oh, it's you again. Hey, guy. What did you want? Out of the hot sticky metal box— but as you can see, I did that on my own. Hey, look— I get all my messages at the same time, alright? Do you not have a beeper or something? What year is this? Says the dude in the robe. Watch it. Fuck. Crisis. Speaking of Chrisis—is Jimmy Fallon Still suing me? Probably. I hope so, MEANWHILE Sorry but it had to be done Somehow I'm all for it I got holes in all my socks Like I got golf at 9 o clock I was bionic Now I'm supersonic Toxic for the hustle Russell brand up in this bitch Promote my brand up in this bitch Throw some hands up in this bitch Smoke some ham up on a sandwich Sand up in this castle Throw a flag up in this beach (bitch) Land Hoooooooooooooooooo Land hooooooooooooooo. Land ho Ho Ho Can applause I'm Santa clause I'm man; I'm a Possible Option for Drama Atlanta In a Cadillac In the Back with the Bosses and Models I got Bottle service Hold the phone My servitor say Already won an award And it just got awkward Cause I don't finish the song Tomorrow Flight to Auckland (Oy oy) I am her Boy toy We pick up some Mai tais Then she Ride on My thighs She just right A size nine And I like her eyes, Eyes, She don't want no ICE, Her life on the rocks already deported her twice From where I'm from (Aye aye) Some time this shit don't make no sense So I brought Christmas presents over Wearing cookie monster's— SETH. What. I had Cookie Monster's— uhhh— cookie monster's uh—! Cookie monster's what— Creepy puppet thing The actual puppet? YES! Why—? On my hand! What? IT WAS PART OF THE JOKE!! What! Oh NO, SETH MEYERS. What is happening right now . I don't know. I'm still drunk! But we gotta find Cookie Monster. What! The Cookie Monster fucking—c'mon. Let's check the chimney! I don't have a— CUT TO: …you built me a chimney. Technically, I had a chimney built for you, Seth Meyers, WHY. IT WAS PART OF THE JOKE. WHAT WAS THE JOKE! I FOUND YOU DRUNK UNDER MY CHRISTMAS TREE. It was MY Christmas tree! IN MY LIVING ROOM. [beat] This is just bad office politics. I'm your boss. I resent that. I also resent that. So—wait a second— as part of this “elaborate joke” you also stole a Cookie Monster puppet. I didn't steal it. I own everything, basically, pretty much. Okay— so wait, wait— what you're telling me is that when you came through the chimney— Yes— Which you built on my house— somehow within out my notice— —you take long vacations and your security system sucks— —that's— Also I hacked your security system. —for a joke?! …did it land? WHAT. I'm trying new bits. This scene is running long. —I'm gonna make some calls. Enter The Multiverse} [The Festival Project™ ] {Enter The Multiverse} L E G E N D S: ICONS Tales of A Superstar DJ The Secret Life of Sunnï Blū Ascension Deathwish -Ū. Copyright The Festival Project, Inc. ™ & The Complex Collective © 2015-2025 All Rights Reserved Wait something got kerfaufulled… No we're jumping parallel's it's this season's theme. What's the theme? THE REVERSE QUANTUM SIMULATION THEORY [REQŪÏSĪTE: The Experienxe] [postponed until further notice] Lulz

He has returned! Wise Sage is ready to unleash the discussion of Elden Ring once more! This time…with a numbered list!?!?

Willie O'Brien is famous for his name on Cranes throughout the city. He's sold up, moved on and now is passionate about other bosses seeing skills not disabilities. See also See My Skills Hosted on Acast. See acast.com/privacy for more information.

Mark Carney is doing the bidding of his corporate masters. From unfettered profiteering off of natural resources to increased militarization and massive austerity measures, he is loyally carrying out what they have been demanding. And he is empowering the state with the tools necessary to clamp down on the coming resistance. The labour movement as a whole must prepare for battle and mount serious resistance to Carney's entire program. This week, Joel is joined by Marcus to discuss this reactionary agenda pursued by Carney, and what it means and how to fight it. Read Marcus' article: https://www.marxist.ca/article/federal-infrastructure-bill-infuriates-indigenous-groupsDo you agree? Want to join the fight against capitalism? Contact us! https://www.marxist.ca/join

BOSSes Anne Ganguzza and Danielle Famble tackle a crucial and often uncomfortable topic for voiceover professionals: money and debt. Prompted by Danielle's recent experience with an unexpected studio investment due to a flood, they delve into whether voice actors should go into debt to fund their careers. This episode explores personal relationships with debt, strategic financial planning, and the importance of financial literacy in building a sustainable voiceover business. They emphasize distinguishing between impulsive spending and calculated investments, advocating for a data-driven approach to financial decisions.   00:00 - Anne (Host) Hey bosses, Anne Ganguzza here. Are you ready to take the next step in your voiceover career? At Anne Ganguzza Productions, I specialize in target marketed coaching and demo production that gets you booked. If you're thinking about elevating your performance or creating an awesome demo, check me out at anneganguzza.com.  00:21 - 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 Ganguzza.  00:40 - Anne (Host) Hey everyone, welcome to the VO Boss Podcast. I'm your host, Anne Ganguzza, and you are here with the Boss Money Talk series, and I am here with Danielle Famble. I am so excited, Danielle. It's been so long I feel like it's been an age since I've spoken to you. Hey.  00:56 - Danielle (Host) But it was just last month. Yeah, I know it hasn't been that long, but it's good to be back.  01:01 - Anne (Host) Yay, and you know talking about. One of our favorite subjects is money, money, money, money. And speaking of, I noticed you're in a sparkly new booth there, oh, this whole thing it looks like a.  01:12 - Danielle (Host) Studio Bricks. To me this is a Studio Bricks One Plus booth and I've had it for a little while now and, yeah, it's great.  01:23 - Anne (Host) Well, having investigated those studios myself, I do know that's quite an investment it is quite the investment.  01:31 - Danielle (Host) It is an investment that I took quite a long time to get to. It was not an impulse buy, but it was a purchase of necessity.  01:41 Sad news is my apartment flooded and I lost my previous apartment and also booth along the way, and so it was time to get a new booth, and I knew exactly what I wanted to get. Is there insurance for that sort of thing, like for my apartment? And so it was. My previous booth was reimbursed essentially the cost of that booth, but it was not. It was a less expensive booth than this one, obviously, so there was a delta that I had.  02:16 - Anne (Host) So you do have. Yeah, so you did. You did have some, you did have some recovery money for that but you know, it, it. It poses an interesting question. You know you, it seems to, I did yes voiceover talent. Or should you know people that want to get into the voiceover industry go into debt to pay for something like a booth or to pay for their entrance into the industry? I think that would be a good topic to chat about.  02:54 - Danielle (Host) Yeah, that's really interesting. I mean, you hit the nail on the head for me. Obviously, my apartment flooding was an unexpected expense, so therefore, the emergency fund really came to be used for its intended purpose. And I you know that's a really good question, because not you don't always have the money to go after the necessities of your dreams. You know, a booth like this is quite a big investment, or even things like your demos or your equipment microphones, coaching, all of those things.  03:28 It costs quite a bit of money. I, because of my personal experience with debt and getting myself out of debt, I am pretty debt averse, so I choose to have my emergency fund pay for the things that are knowable expenses when it comes to building a life and building a career. That's what I try to do. But I can see a reason why there are ways to use debt to your advantage if you know what you're doing. But for me personally, I try to not use debt, especially if I know that something big is coming. Obviously I didn't know that I needed to get a studio bricks, you know when my apartment flooded and also moving and those kind of costs that were incurred and the stress of it all. I was living in a hotel for three weeks because I did not have a place to live. So obviously those things you know. If you don't know and you can't incur those costs because you can't predict it then debt is a tool that can be used.  04:31 I'm just debt averse, and so I try to use other tools before utilizing the lever of debt. But what do you think, Anne?  04:39 - Anne (Host) Yeah, I mean, I think really, it a lot of it has to with and we had talked about this before if you have any type of money blocks, if you grew up with a certain set of beliefs about money. Yeah, I think that I also have been in a position where I've had debt, I've had to pay off, and I don't like to be in a debt situation. Sure, and, if possible, I really encourage everybody to just create that savings account and we've talked about this before the high yield savings account, which I think is really great. But you know, I mean, banks have business loans for a purpose, right, because we are a business. Now, I think, because we are a business that sells our voice, right, we tend to think it's much lower upfront cost, right.  05:26 Then, some businesses, when you have to invest and buy God forbid, you have to rent like a storefront and then you have to buy inventory. So, I think, with the advent of technology and online businesses, people have maybe, maybe it's come to be like a false sense of, hey, it doesn't cost a lot of money to invest in. Let me just open an online business, which is where voiceover tends to fall. However, there's, there's costs that you know you incur in this business and we've talked about that. I mean, there's absolutely your equipment, your studio and, of course, your voice is a cost, because you've got to be able to get jobs with your voice, and so in order to create the best product out there, you've got to train that voice, You've got to have products that showcase that voice, like coaching and demos, and so website and things like you know yeah, and so I am initially adverse.  06:25 However, I think there are, as you mentioned before, calculated strategic ways that you can invest in your business and make other people's money work for you. And you know, one thing comes to mind where my husband took out a loan because there was an offer of a 0% interest, which you know I mean gosh back when we did have some debt. I mean we were great at juggling those 0% interest cards, right, because we didn't have to pay our money in interest. And so he saw an offer and because he wanted to have some extra cushion in the overdraft account, he said let me take out a loan and so let me let me open this credit card, right, so for a certain amount of debt. And and there it sat, and all of a sudden I noticed that my credit score kind of dinged down like a point. I went, hey, what's this? What's this new credit card where there's a certain amount of debt in there and not that had been used, but there was a certain. It was just a new credit card. And he said, oh yeah, I took that out just for overdraft protection, which I think is absolutely fine.  07:33 However, I didn't like my credit score being dinged. But either way, I said well, look, because I had such a good experience with a high yield savings account, I said why don't you just take that chunk of money and throw it into a high-yield savings account? Because, first of all, you're not going to get charged any interest for about a year. So if you calculate the going rate on a high-yield savings account, which right now is about 3.75, I think mine was up at 4.35 at one percent at one point, but I mean it's still really good. And if you have even a few thousand dollars right that you can invest into or put that into the high yield savings account, you leave it in there for a few months and you don't use it. That generates money for you. And that's the thing.  08:16 I kept seeing this credit card and he wasn't using it. He was just using it for cushion, to just sit there. And I'm like well, have it sit there in a high yield savings account so that in a year, once it starts, you know, charging interest, we can have made a few thousand dollars and then way we can pay off the small amount of, you know, credit card debt that we have right now. And to me that would be a strategic way and, believe it or not, like he and I I mean we. I mean, one of the reasons why we're still married after all these years is that we very rarely have financial fights.  08:45 I truly believe that to be the case, but we always we had our own accounts. We, you know, basically have just remained that way throughout our marriage because, you know, we got married a little bit later in life, so I always had my own account, I had his account, and we just created a new account where we pool the money in for, like vacations, and so, you know, we basically live our lives trying to be debt free, and so this is just one of those things because he's really good at finagling those zero percent credit card rates, I'm like, well, at least put it in a high savings yield account. I think that that's a great way to strategically use maybe the bank's way of making money right to generate money that we can pay off our own debt, and I think that might be a strategic way.  09:29 - Danielle (Host) I like that.  09:30 - Anne (Host) Because that might be able to fund your next booth or fund your next microphone or fund your next demo Right.  09:37 - Danielle (Host) Right, right. What I appreciate about that is you were using cold hard facts, right. You were using logic, you were using numbers and you were able to calculate what makes the most sense. Let's just say I need to take out a loan for $10,000,. Let's just say and I've got a 12% one-year interest-free amount of time Okay, I know that it's $10,000. I know that I've got a year to pay it back. Can I reasonably pay back the full $10,000 in the 12 months?   10:33 that's $3,000 to $4,000. You can invest in a. With data. I say go right ahead. But on the flip side of that, if you're looking at this from a place of like scarcity fear, you're not really sure if you can pay it back. Then you're likely putting yourself in a long-term revolving door where you'll need to open up another line of credit to then pay off that line of credit and then you're not building money. You're actually a victim of the bank, instead of using the banks in the way that they're using us, which is to use us to make money, you know, and interest in everything else. So you know.  11:10 For that reason, yes, but that means you have to be super dialed into the logic and the data and the numbers and the facts, and I feel like I fear that some people don't do that, and then they enter into these with, like the hope that they will be able to pay it off, and hope is not currency.  11:28 So that to me is oh that's the words of wisdom right there Hope is not currency.  11:33 - Anne (Host) I love that, Danielle 11:34 - Danielle (Host) Hope is not currency and I feel like if we're, if we're trying to hope our way by using debt as a tool, that is a recipe for disaster. But if you know that you can keep yourself financially in a good place and even actually in a better place where you can make money on other people's money, go right ahead.  11:56 - Anne (Host) You know that's so funny. I'm so glad that you brought this home and gave that perspective, because I think it really makes a lot of sense. And I'll tell you what. It was something that I was. I never really thought about using the banks to make more money because I just was never into financial money like investigation, like that, before, until I started my own business, in which case now it became very important that I had money and that I was able to keep my money or pay you know, pay for my business, right, pay the expenses of my business, especially having you know people that work for me, and paying you know my agency and all that sort of thing, so actually having like money in and money out.  12:41 I then all of a sudden really had to take a hard, cold look at my money, which I think everybody that does this for a living needs to do, because, again, we are businesses and we Anne forget that. As easy as it sounds to have to do this right, to just get on our studios and audition and get jobs and make money and or invest some money, it's really a business and you've got to take a cold, hard look at numbers in order to make it worth your while and to make it sustainable and to grow, and for me it's something that it was like an epiphany almost. I'm like, hey, why don't we do this? Because I had a good money experience here investing this and then I thought to myself gosh banks do that to us all the time. They're making money off our interest. That's exactly how it works. I'm like why can't I do the?  13:32 - Danielle (Host) same thing. Yeah, and it's interesting because the thing is banks whenever we're like doing a loan, getting a loan with them or anything else, they are investigating into us because they have a business model that they know works, so they're utilizing their data to make sure that giving us a loan makes sense for them. We have to do the exact same thing when we're looking at utilizing debt, because a bank would never just say, oh yeah, I mean I hope it'll get paid back, I hope you'll pay us. Mean, I hope it'll get paid back, I hope you'll pay us back.  14:03 - Anne (Host) I hope you'll pay it back.  14:04 - Danielle (Host) They aren't going to do that. That's why, after a certain amount of time, the interest is so high it's so much higher than you would make on your high-yield savings account because they need to ensure that they are getting their money back, plus some. We can do the exact same thing, but it goes back to making sure that you are tracking your numbers. You know your data.  14:28 - Anne (Host) You can look at historical data and you know the risk and you know the risk. I think that's an important component of if you're going to play. If you're going to play like that, you have to know the risk. Now, for us, the risk in a high yield savings account is so much less than, let's say, the stock market. I have to keep my eye on all the time and make sure that that interest rate I mean, at one point it started above 4% and now it's down at 3.7 something percent. But keeping your eye on that and then keeping your eye on the track record, how long has it been at this?  14:51 And every month I'm checking my high yield savings account so that I can say, okay, this month I made X amount of dollars, which is really great, because I just continue. It just makes me want to put more money into my high yield savings account and there is a cap on it. So you do have to know those things as well. Right, you can only put so much money into that high yield savings account. Well, guess what? I'm opening up a second one so you know when you've gotten to that point where you're making that investment. And that's where, danielle, I feel that I'm very, very fortunate, grateful and worked very hard to feel like there's my financial cushion Should something like a disaster happen.  15:29 I mean, and I'm you know fires here in Southern California are a thing you know if something were to happen, I would have that money and also that's money that's kind of earmarked for retirement as well. But I also have a different retirement account for that, totally.  15:44 - Danielle (Host) You've got all these different buckets for as your emergency fund, but then you're using what I like about this. What you just said is that for me, anyway, using my emergency fund and then also using the money of the interest that's being made and my emergency fund it's in the high yield savings account I'm choosing to be my own bank, so I'm using the money that I'm making as the interest. Also, I'm dipping into that emergency fund because that's what it's for, and all I need to do is either just pay my loan back my loan to myself, pay that back to bring my emergency fund back, or let the high yield savings account let the interest pay that back for me over time. Yeah, so there are ways to sort of like make it work. But you know, if you don't know what the numbers and the data and everything looks like and you're not making these informed choices and decisions by using debt, it really can, you know, become a problem. But we can also become our own banks.  16:43 - Anne (Host) Money is and also when it comes time to. You know, most recently, I just invested in a new agency to do some work for for my brands, and it was a considerable investment and it was a risk. Again, it was one of those things when we talk about taking risks. It was a calculated risk and a strategic risk because I looked very closely at the amount that I was going to have to invest and for how long. So I always want to say that I need an escape route.  17:33 Right, if you invest in something and you don't want to have recurring payments, that kind of thing. Right, you don't have recurring debt. Right, just like debt, you have to pay every month and you have to pay a particular interest charge. You don't want to have recurring debt and I try to not have any of that happening at all. But if there is recurring debt that would be like oh, I'm paying off a bill or I'm paying off like a service and it goes for so many months and it's this amount of money. Well, make sure that you've accounted for that within your business and you have the money in case your business is not making the money. Right, and that is one thing that allows me to continually invest in my business take risks and then move forward.  18:14 - Danielle (Host) You have to. You have to constantly be looking at that. This is not a job, a career in any business, business, really, where you're just doing the passion, the thing that you really enjoy doing. There's this entire other operations and data management and education aspect to it that you constantly have to be investing in, and the investment isn't always financial, it is in time, it is in learning, it's in investing in yourself, it's investing in the person and the entrepreneur that you want to be in the future. And yes, money powers that, but it's not always a financial investment. So, really, just make sure that you are able to take the time to do that, to take the time to invest in yourself, and you know the ramifications of it. But debt is I'll go back to this debt is just a tool that you can use. So use your tools wisely. Maybe you need to use other people's money, maybe you use your own currency, but there are ways to grow by utilizing debt. You know, I still try to be. I try to be the bank first and then, sure.  19:24 - Anne (Host) Well, I don't like owing money. I mean I'm that person like at the end of the month, man, pay it off, just pay it off, just get. Although you know there there is, you know when you talk about it, when you take out loans like a car loan or a home loan, I mean that does establish better credit. And so you know, not having like not having credit at all can hurt you Exactly. And so not having some debt or a loan can can hurt your credit. And so it's that game of playing like paying it all off is great, but sometimes it damages your credit If you don't have enough credit open because the banks think, well, I mean it's good that they've paid. What is that? What is the mentality behind that? It's good that they pay off everything, but why is it that you need to have a credit card in order to have better credit?  20:09 - Danielle (Host) That goes kind of back to like for me. That goes back to my history and psychology with money and debt. I was just flat out told debt is wrong, Credit is wrong, it's bad, don't use it. And so when it was time for me in my mid-20s to get a credit card or at least try to make bigger purchases, I had no credit history there was no record.  20:34 So you can't show that you are credit worthy. Until you have a history, until you have credit. And it is this cycle that you really need to understand. And since I was completely ignorant of that because I was just told it's bad, don't play that game. I was at a disadvantage. So you do need to be in it to utilize it, sure, sure, but if you don't, then you're not going to be able to show that you're credit worthy.  21:05 So so, it's a, it's a it's. It's an interesting thing and I think really it should start with education.  21:10 I wish I was educated on it a little bit earlier in life so that I could have a longer amount of time to show hey, I am credit worthy, I am paying my bills on time, I am paying my debts off, and and here's my history of being able to do it it's it's interesting are ways. I think there are ways to learn about it and not get burned, so that you can have a positive experience with money and debt instead of just not knowing or having worse, having fear about it.  21:40 - Anne (Host) I think you make a valid point there and I think I personally, having come from an education background, really believe that financial education should happen in like grade school. Oh yeah, I mean in grade school.  21:53 And there should be, because there's so much, I think, fear For me. I always said it was denial Right, because when I got my first credit card I was like, woohoo, you know I can go and you know, buy this, I can buy anything I want. And then all of a sudden it's like, well, wait a minute, I've got this thing called interest, and why do I have to pay this extra money? And it was interesting because I wasn't really educated in high school about credit cards or finances or really much of any of that, and so it can get out of hand. I mean, I literally just had such a shopping spree with that credit card thinking, oh my gosh, well, I've got a job, I can, you know, I can pay this. But then it can get out of control, it can spiral quickly. You know, I think if I were educated a little bit, I think really the best education that I have gotten recently is having my own business, because for a long time and I think a lot of people might feel the same here it was denial right. I would get that credit card statement at the you know every month and I'd say, okay, all right, it went up a little bit, I can pay that by. You know, all I can do is pay a little bit more every month, and it just was one of those things where I kind of stopped looking. I was like, yeah, here, here's my card.  23:02 And I think denial is a form of fear.  23:04 Oh yes, it is a fear of really looking at the real numbers and seeing what's there.  23:10 And I think, for voice actors just getting into this industry, there are investments We've talked about this in our past episodes investments that you have to make, but they're minimal compared to, let's say, a storefront that requires inventory, but they're still investments, and so, therefore, you do have to be willing to take a risk and make an investment in your product, and that means good coaching and experience having a business.  23:36 That's also something that I think is priceless. Can you really pay for having a business experience like having a voiceover business? I think if I had really succumbed to my fears in the first couple of years, where I wasn't making a whole lot of money, I would have given it up. I would have given up my career and said I'm not making any money and so, therefore, maybe this isn't a viable business for me. So there's that, I think, that balance between taking the risk and then if I had had a financial cushion back at that time when I was taking the risk and then if I had had a financial cushion back at that time when I was taking the risk, I think I could have grown my business much faster.  24:12 - Danielle (Host) Your financial cushion we go.  24:15 You know this goes back to earlier episodes where sometimes your day job or you know other things that you are doing to make money outside of voiceover or outside of this business is your financial cushion, and that's a wonderful thing to have.  24:28 So don't look at it as a detriment. Look at it as something that you are using as another, one of those tools to be able to further your investment in yourself, in your business, in your coaching, in all the things that you would need to support yourself in this business, to support yourself in this business. There are so many different ways to fund this dream, this business, this career. It doesn't have to just be one tool, but you really do have to stay on top of understanding how to use a tool and what it's going to cost you in terms of paying it back or what you're going to gain from it in terms of you know, using the interest If you are using a line of credit, for example how you can really win. That's really what it is is. You can take risks, but it's a calculated risk so that you can make sure that you always are in the winning position.  25:19 - Anne (Host) You want to win. Win that game. Yeah, absolutely, because it's scary to not be in a winning position. For sure, that is for sure. Wow, absolutely, because it's scary to not be in a winning position. For sure, that is for sure. Wow. What a great conversation, danielle. I really appreciate it. Gosh, I love talking to you about money.  25:32 - Danielle (Host) I love talking about money, so let's keep doing it.  25:35 - Anne (Host) Oh gosh. Well, thank you so much. And, bosses, I'm going to give a great big shout out to our sponsor, ipdtl. You too can connect and network and talk money like bosses. Find out more at IPDTLcom. Bosses, have an amazing week and we'll see you next week. Bye.  25:53 - Speaker 2 (Announcement) Bye. 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 VOobosscom 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.   

Voici le RÉCAP D+ du 7 juillet 2025, le flash info du trail signé Distances+ présenté par Nicolas Fréret et Chloé Rebaudo, à écouter en quelques minutes chaque lundi.Au sommaire cette semaine : le FKT de François D'haene, les championnats de France de course en montagne à Val d'Isère dans le cadre du High Trail Vanoise qui ont notamment sacré Christel Dewalle, Nélie Clément, Fred Tranchand et Corentin Capelier, le Val d'Aran by UTMB dans les Pyrénées espagnoles, le Restonica Trail by UTMB en Corse, l'UTCAM dans le parc du Mercantour, la Asics Pierra Menta Été, le Québec Méga Trail 8e étape des World Trail Majors, les championnats d'Europe de Skyrunning en Italie, la 14e étape des Skyrunner World Series, le Trail du Bout du Monde dans le cadre du challenge Ouest Trail Tour ou encore le Semi-marathon du Mont-Ventoux.

Trudi talks about our excuses and the places they lead and the place they keep us from.

Three former staffers at the hospital where British nurse Lucy Letby murdered seven babies and attempted to kill seven others have been arrested on suspicion of gross negligence manslaughter. The trio worked on the senior leadership team at the Countess of Chester Hospital between 2015 and 2016. UK correspondent Gavin Grey explains further. LISTEN ABOVESee omnystudio.com/listener for privacy information.

Three ex-bosses of UK nurse Lucy Letby have been arrested on suspicion of gross negligence manslaughter. London Correspondent Olly Barratt spoke to Corin Dann.

What if your boss turns against you the minute you ask for a promotion? Or you struggle with strategic thinking and keep getting feedback that you're “too in the weeds”? Or the person dragging down your team is doing just enough to stay out of trouble? The Amys give advice for dealing with sabotage, shifting how you're seen, and setting expectations with difficult colleagues.

EWN’s Alpha Ramushwana spoke to Mike Wills about the arrests of Molefe and Gama, the explosive Transnet corruption case that has returned to court, and whether this marks a real step forward in implementing the Zondo Commission’s recommendations on State Capture. Afternoon Drive with John Maytham is the late afternoon show on CapeTalk. Presenter John Maytham is an actor and author-turned-talk radio veteran and seasoned journalist. His show serves a round-up of local and international news coupled with the latest in business, sport, traffic and weather. The host’s eclectic interests mean the program often surprises the audience with intriguing book reviews and inspiring interviews profiling artists. A daily highlight is Rapid Fire, just after 5:30pm. CapeTalk fans call in, to stump the presenter with their general knowledge questions. Another firm favourite is the humorous Thursday crossing with award-winning journalist Rebecca Davis, called “Plan B”. Thank you for listening to a podcast from Afternoon Drive with John Maytham Listen live on Primedia+ weekdays from 15:00 and 18:00 (SA Time) to Afternoon Drive with John Maytham broadcast on CapeTalk https://buff.ly/NnFM3Nk For more from the show go to https://buff.ly/BSFy4Cn or find all the catch-up podcasts here https://buff.ly/n8nWt4x Subscribe to the CapeTalk Daily and Weekly Newsletters https://buff.ly/sbvVZD5 Follow us on social media: CapeTalk on Facebook: https://www.facebook.com/CapeTalk CapeTalk on TikTok: https://www.tiktok.com/@capetalk CapeTalk on Instagram: https://www.instagram.com/ CapeTalk on X: https://x.com/CapeTalk CapeTalk on YouTube: https://www.youtube.com/@CapeTalk567See omnystudio.com/listener for privacy information.

Send us a textWe have ALL had an asshole boss. Its unavoidable. And we have the stories to prove it! Join Jack and Brad as they talk about their own experiences with asshole bosses, and read a ton of stories! Support the showPest Control Humor Depot on FacebookInsta: @tftcpodcastTikTok: @tftc2.0Our Websiteand please click #gloveupforcandace

In this episode of The PDB Afternoon Bulletin Iran's regime turns inward just days after the ceasefire, arresting hundreds and carrying out executions in a sweeping post-war crackdown. Plus—what happens when artificial intelligence finds out it's getting shut down? New research shows today's top AI models don't just resist—they blackmail, manipulate, and sabotage in terrifyingly real ways. 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 Birch Gold: Text PDB to 989898 and get your free info kit on gold Learn more about your ad choices. Visit megaphone.fm/adchoices

Summary In this episode, Andy welcomes back leadership coach Josefine Campbell to discuss her newest book, 12 Tools for Managing a Selfish Leader. If you've ever had a boss who seemed unpredictable, emotionally draining, or even manipulative, this conversation offers tools and insights that can help. Josefine shares the inspiration behind the book, which is based on the story of a coaching client who successfully navigated a toxic leadership environment. You'll learn how to identify the early signals of stress in yourself and your team, apply tools like the Stress Staircase and the Three Relationship Circles, and recognize behaviors like “praise with a twist.” Most importantly, Josefine emphasizes the critical turning point: recognizing that while you can't change a selfish leader, you can change how you manage yourself to better navigate the relationship. If you're looking for insights on how to manage up, preserve your well-being, and lead yourself through challenging leadership dynamics, this episode is for you! Sound Bites “To qualify as a selfish leader, the way I use the term: it's someone who puts their own interests before the interests of the common good of the company, of the team, and of the people.” “Your breath is the only vital response you can control. It's your way back to calm in the moment.” “Over-responsibility is a shadow trait of high achievers. When you are highly responsible, it has a dark side. It makes it difficult for you to let go.” “I cannot change him. I can somehow manage him, but it is about how I manage myself to manage him.” “The turning point comes when you stop trying to change them and start managing yourself.” Chapters 00:00 Introduction 02:07 Start of Interview 02:20 Why This Book? What Sparked the Idea? 06:00 What Is—and Isn't—a Selfish Leader? 08:40 Subtle Early Warning Signs of Stress 10:09 The Stress Staircase: What It Is and How to Use It 13:00 From a Hijacked Mental State to Being Ready 16:49 Techniques: Rewriting History and Praise With a Twist 23:35 Over-Responsibility and High Achievers 26:20 The Three Relationship Circles 29:04 Managing Yourself to Manage Them 32:36 Stay or Go? Coaching Through That Crossroads 35:01 End of Interview 35:36 Andy Comments After the Interview 39:03 Outtakes Learn More You can learn more about Josefine and her book at josefinecampbell.com/books. For more learning on this topic, check out: Episode 395, our first conversation with Josefine about leading through complexity. Episode 317 with Mary Abbajay about managing up and succeeding with any boss. Episode 422 with Bruce Tulgan on how to manage your boss. Pass the PMP Exam This Year If you or someone you know is thinking about getting PMP certified, we've put together a helpful guide called The 5 Best Resources to Help You Pass the PMP Exam on Your First Try. We've helped thousands of people earn their certification, and we'd love to help you too. It's totally free, and it's a great way to get a head start. Just go to 5BestResources.PeopleAndProjectsPodcast.com to grab your copy. I'd love to help you get your PMP this year! Thank you for joining me for this episode of The People and Projects Podcast! Talent Triangle: Power Skills Topics: Leadership, Project Management, Managing Up, Emotional Intelligence, Coaching, Stress Management, Toxic Leadership, Conflict Navigation, Workplace Psychology, Self-Leadership, Empathy, Team Dynamics The following music was used for this episode: Music: Summer Awakening by Frank Schroeter License (CC BY 4.0): https://filmmusic.io/standard-license Music: Tuesday by Sascha Ende License (CC BY 4.0): https://filmmusic.io/standard-license

Toxic bosses are more common than you think—and Kendall Berg isn't afraid to name names and break down the real strategies you need to survive them. From micromanagers who hover over every move to credit-stealers who take your wins and make them theirs, this episode of Secrets of the Career Game reveals what actually works when your manager is the biggest obstacle to your career growth. Kendall explains why emotional distance is the key to survival, how to proactively manage up, and what to do when your boss starts playing games with your reputation. Whether you're dealing with power-hungry leadership or just an insecure manager who's in over their head, this episode gives you the insider blueprint for managing up, protecting your peace, and reclaiming your progress. In this episode, we discuss: What are the 4 toxic boss types and how do you spot them? How do you deal with a micromanager without losing your mind? What's the best way to protect yourself from a credit-stealing manager? Can you really get promoted under a defensive boss? What should you say when your boss makes a derogatory comment? ⭐️Get our FREE Accomplishments Tracker: https://fabulous-butterfly-83716.myflodesk.com/n8yzvrtw9v  That Career Coach Want to know more about Kendal Berg, that career coach? Follow her on Instagram: @thatcareercoach_ Check out her courses on the website: https://thatcareercoach.net/ Build out the tools you need to navigate the corporate game: — Self Driven Mastermind  

Some jobs should be free from any manager reaching out to an employee after work hours, with other jobs it should be just part of the gig. Some bosses can be jerks, but Chad says we don't need a law to curb work emails.

Much of Minnesota and the rest of the country would like our political leaders to end the heated political rhetoric. Can that actually happen? Chad opens the hour with that conversation before a discussion about bosses contacting employees after hours and how far we should go to legislate people enjoying their personal lives without work interruptions.

See omnystudio.com/listener for privacy information.

I'm sure there have been people in your life you thought, “I'd like to be like her—or like him.” You saw things in that person which were attractive and endearing, and you desired those qualities for yourself. Well, I want to encourage you to have that attitude toward a man named Joseph. His name was Joseph, but the apostles called him Barnabas, which means Son of Encouragement. You can read about him in Acts 4. Imagine people calling you by a name that signified you were an encouraging person. I can't think of a greater compliment, can you? I want to show you how you can become a Barnabas in your workplace; you can be known as a person who encourages others. A good friend, Traci Mason, has compiled these ideas and allowed me to share them with you. We all recognize our workplaces can be full of discouragement, especially in these days of economic uncertainty. But this gives us a perfect opportunity to help others by becoming an encouraging person. Now, mind you, this will take some time and effort on your part, but the return on your investment will be eternal! So, here are some practical ways you can become a Barnabas where you work: Write notes. Handwritten notes are almost extinct. Keep a supply of note cards and encourage colleagues by placing a note on their desk, in their mailbox, or in their hand. It's easy to make personalized cards on our computers now; so, get creative and write a note just to encourage someone. Send e-cards. It's really easy to send an e-card to your coworkers to let them know you are thinking of them. You can even send the same card to multiple addresses. Employees receive messages that make requests and give instructions. They would surely welcome something more pleasant in their inbox, and an e-card would be a pleasant surprise. Remember birthdays. Find out the birthdates of coworkers, put them on your calendar, and simply give each coworker a birthday card to help them celebrate their special day. We send birthday cards here each month, and I've been amazed at how many people are encouraged to receive a special birthday card. It's so easy to do! Smile! Did you realize a simple smile can cheer up and encourage someone? Smiles are contagious and can brighten the atmosphere where you work. When talking to or passing by others, just turn up the corners of your mouth and flash them a radiant smile. It costs you nothing, and it can really make a difference in someone's day. Greet people! As you enter the workplace, greet coworkers with a simple, “Good morning.” You never know the energy it took for others to arrive at work. A pleasant greeting can start a person's day off right and possibly help them forget about their troubles. Be the Welcome Committee. When a new employee joins the team, introduce yourself and offer to be of assistance. Help that person find his or her way around, offer to have lunch together. Think how comforting it could be for that new colleague, because being the new person can be challenging and a little frightening. Share your lunch. Purposely take more than you can eat for lunch and invite a coworker to eat with you. Or if you baked something special and have some leftovers, bring it in for others to enjoy. You could go the extra mile and ask them ahead of time to share lunch with you the next day. You may be thinking these don't sound very impressive or important, but it is so often the little things we do can touch someone else. These things help them see they are not forgotten, and they are encouraged. Become an encourager on the job. It will make a difference. Here are some more creative ways you can be a Barnabas on the job: Offer to help your boss. That's what I said—offer to help your boss. Instead of running from work or assignments, ask your boss what you can do today to help him or her, especially if you know your boss is under a lot of pressure. Bosses need help just like everybody else, yet often they are overlooked.

Go to http://kindafunny.com/XREAL to grab yours now! Go to http://factormeals.com/kindafunny50off and use code kindafunny50off to get 50% off plus free shipping on your first box. Learn more about your ad choices. Visit megaphone.fm/adchoices

A new way to enjoy the afterlife.. Places people like to leave early.. An early Father's Day.. Bosses that have no idea what their employees do.. And, TikToc videos from home.

Are you looking to take control of your financial destiny as a voiceover artist and business owner? In this insightful episode of the VO BOSS Podcast, Bosses Anne Ganguzza and the lovely Danielle Famble delve into the critical importance of understanding your hourly rate across all your income streams. They share practical strategies for calculating your worth, optimizing your schedule, and confidently negotiating your fees to build a thriving and sustainable voiceover business. 00:03 - Speaker 1 (Announcement) There's a voice revolution going on between podcasts, smart speakers, voice assistants, social audio. All these things are here to stay and there's more to come. What VO BOSS recognizes are the shifts in the industry, and they always get experts on to explain what's next and how talents can stand out. 00:25 - Anne (Host) Hi, guys, Anne Ganguzza here. Are you looking to discover true happiness and fulfillment? My coaching services are here to help you find joy, overcome challenges, and live your best life. Let's take that first step towards happiness today. Visit anneganguzza.com to get started. 00:45 - Speaker 3 (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. 01:04 - Anne (Host) Hey, hey everyone. Welcome to the VO BOSS Podcast and the Boss Money Talk Series. I'm your host, Anne Ganguzza, and I am here again with the lovely Danielle Famble. Hey. 01:15 - Danielle (Guest) Anne, so happy to be back. How are you? 01:18 - Anne (Host) Oh, I'm doing good, Danielle. What are we talking about this morning? I have no clue. 01:24 - Danielle (Guest) Honestly, same. I really have no clue, but we look good and we are here to talk about money, so we can figure it out. 01:32 - Anne (Host) There we go. Well, you know, it's so interesting because if I don't schedule it in my calendar, right, it just, at this point, my calendar, I live by my calendar. I know I've mentioned that to you before, like, literally hourly. I schedule my time hourly, and it's funny because sometimes I have my students that want to get in coaching sessions with me and they get frustrated because my schedule is booked up, but if I don't put it on my schedule, like, it just doesn't get done. 01:57 And interestingly enough, my schedule has a lot to do with the hours I work and the amount of money I make per hour, and I think that it's so important because I can only schedule my coaching services for a certain amount of time a week. 02:12 - Danielle (Guest) Right. 02:12 - Anne (Host) Because at other times, I have to make sure I'm allocating that to my other income streams, right, and so I think it's always important to know, as a voice talent and as a business owner, what is your time worth per hour? Like, what is your hourly rate? How much money are you making per hour? Because that can tell you like, oh, I should spend a certain amount of time coaching and a certain amount doing voiceover, hopefully, because that's the value that we don't know. Like, that's not standard, we can't depend on that. There we go. 02:39 - Danielle (Guest) When you know, like, your hourly rate, like what you're charging for, what you're bringing in, then you actually can figure out how you can grow it. So maybe you grow it by increasing your rate, or maybe you grow it by shifting your focus in those higher hourly buckets. So if it's a different genre or things that you're doing, maybe your day job pays you more per hour than a particular side hustle that you have. 03:02 - Anne (Host) Oh, good point, yeah. 03:02 - Danielle (Guest) You know how to spend your time. I am also very guilty of being the person who always needs to look at my calendar to figure out what I'm doing, because if it is not on my calendar, it's probably not getting done and probably got lost somewhere in the shuffle. But yeah, I mean, knowing how much your time is worth and how much you should be getting paid for working an hour is so helpful to be able to financially plan for what it is that you're wanting to do and how much money you're trying to bring in. 03:33 - Anne (Host) Yeah, and as we entered into this podcast, going, hmm, what are we going to talk about? Had I not scheduled that time into deciding? Here's my schedule, right? So I need to schedule time to prepare my schedule, or to prepare, like, the topics we're talking about. Luckily, though, Danielle, you're just so easy to talk to. We can figure it out on the fly. 03:50 We can just spin off on, yeah, which is really good. But yeah, I found that it's so important. What are your highest paying income streams? Right, and so for me, voiceover, right, voiceover, depending, but what type of voiceover, right, exactly, it can be genre specific. 04:04 So that would be like voiceover commercial, right, it's the shortest amount of time that pays the highest. Next in line voiceover wise might be medical narration, right, because I have a higher rate. But then you've got to figure out, well, what's the frequency? Now, wouldn't it be great? I think a lot of times when people first get into this industry, they think, oh yeah, I want to do commercial work because I get paid the most doing that, or whatever it might be. But it's not every day that you're booking eight national commercials, if only, so you have to figure out the frequency at which that happens. 04:35 - Speaker 3 (Announcement) Yeah. 04:35 - Anne (Host) And then schedule accordingly. Like, what do I get paid per hour coaching? What do I get paid per hour doing a demo? So I think that really understanding what your time is worth on an hourly basis and then being able to assemble, right, the optimal schedule that can get you the most. 04:53 - Danielle (Guest) And also building in times when maybe you're not going for the most amount of money in that time. 05:00 - Anne (Host) Maybe you're building in rest that I tend to like forget about. It's funny because I will forget to schedule or block a day, like, after a day of travel, right? Because I know that after a day of travel, my time clock is going to be all screwed up, especially in a creative sort of a way. I mean, yes, if a client says to me, can you do a voiceover right now? Yeah, I'll do everything I can to do that. However, getting that rest in so that I can mentally refresh to be the very best version and be more efficient with my time, yes, is absolutely something that you need to take into consideration is scheduling that time and scheduling, believe it or not, travel time. I'm always forgetting about travel time, especially when you have calendar systems that work for you. You can build in your buffer. Like, in between students, I build in a buffer of 10 minutes because, God forbid, once in a while I have to go to the bathroom. 06:20 - Danielle (Guest) Or like drink a little bit of water, or stand up, or like walk around. You know, you got to be a human being. 06:26 - Anne (Host) Yeah, exactly. So you have to schedule that time. But I found that I've had to do that and I'm always like, these days it's when I forgot to schedule in time to do this or travel time, or I forgot to schedule a few minutes for me to get back from Pilates class, right? Now, I've actually scheduled time for my health, which I think is so important. My Friday mornings I take two Pilates classes in a row and I can't start my day until a certain time. 06:52 - Danielle (Guest) Two in a row is wild, and good for you, because, well, one's a stretch class. One is a stretch class. 06:58 - Anne (Host) So I start off with like an actual Pilates class and the other is a Pilates stretch class, but it's stretching, by the way, can be very painful. 07:04 - Danielle (Guest) It's really important. It's really important, as you get older, you have to move your body and stretch your body. 07:09 - Anne (Host) And it's a workout too. 07:10 - Danielle (Guest) Yeah, that's a hack, by the way, for those of y'all listening, make sure as you're getting older, don't forget to stretch. 07:17 - Anne (Host) Yeah, I think it's so important that you do physical things and you're physically fit to be your best in the booth too, because that requires mental and physical, believe it or not. I mean, especially when I talk. We've got to talk with our hands, we've got to be in the scene, and so there's a physical element to it. And darn it all, if these booths don't get hot for the most part, unless you've got that booth that has that quiet air conditioning system, which is like, I think that's something that we all as voice actors are like, ah, it's like, if only we could have, you know, and I have a nice ventilation system. 07:50 However, depending on the type of voiceover that I'm doing, I work in a certain size space and I talk, right, and that's energy that's creating, and there has to be an exhaust, right, and if you have an exhaust, then that's like a hole that external noises can come in. So there's always that delicate balance. But I digressed on that tangent. But being fit, I don't get as hot, so it helps me because I can maintain. That's a whole other podcast. But being fit can help you in all aspects of your business. 08:22 - Danielle (Guest) That's a really important point, because this year I, due to health circumstances, made sure to buffer my time and put into my calendar more time for physical fitness, for going out, just leaving the booth, leaving my apartment, even for walks in the evening, whatever it is. 08:43 I for a long time did not make sure to prioritize that and my health started to suffer. And then my work started to suffer because I wasn't resting. I wasn't able to really show up and be the VO BOSS in the booth that I was wanting to be, because I hadn't prioritized other things that maybe were not bringing in as much financial benefits, but were having huge ramifications in my business, because I had not put the time and the energy into making sure that physically I could stay in tip-top shape. So it's not always about blocking out the time for what's bringing in the money. It's also for making sure that the instrument that we use, our body, our mind, our voice, our instrument, can be as great as it can be, because we have done other things that are not necessarily bringing in financial benefits, but we are taking the time to really like, pour into our instrument and pour into ourselves. 09:38 - Anne (Host) Well, that's our product, right? So our product, because it's such a personal part of us, I mean, we're not making a physical product necessarily. Obviously, our voice is our product and so everything that goes into having a good voice and being mentally and physically prepared counts. That's got to be put into your hourly time clock for what that is, and I really believe scheduling that time is important. So then, with the hours that you have left, right, what is it that brings you a certain amount of money per hour? And then what is it that you need? So really, I think, if you sit down with like a schedule, right, and just say, all right, here I'm doing auditions, so is auditioning bringing me in money? Right, but maybe booking is bringing me money, and so it's really interesting to figure out, like, what your worth is on an hourly rate when you're deciding upon, should I invest that time in auditioning or should I invest that time in pursuing my coaching, or should I pursue my dream genre? How much time should I allocate to that? 10:39 - Danielle (Guest) Oh, I love that. I love that because you're making decisions based on data. You're making decisions based on hard numbers, and that makes it a little bit clearer, instead of what you think you should be doing or what you're hearing that other people are doing, you are making decisions, data-based decisions, which is exactly what a VO BOSS, what an entrepreneur, should be doing. 10:58 - Anne (Host) Yeah, absolutely. So you've got to take the numbers that are certainty, right, and you can guesstimate, like, if you receive jobs, like, I think that's the biggest thing that is out of our control. If we get a job, or you know what I mean, if we book the job, then we need to dedicate the time to do that. So maybe, in terms of how you're growing your business, are you going to do something else on the side, right? How much money will that bring in? It amazes me the amount of students that are coming to me part-time, right, they have a full-time job, that don't know their hourly rate, don't know their hourly rate that they get paid at their corporate job, and I'm like, you really should figure that out, because when you're trying to make those decisions, should I do this full-time, part-time? I mean, there's going to be that transition time where you're going to have to start building up business, building up repeat customers, because those would be the customers that you can depend on. Okay, this income is coming in, so my hourly rate will change for that. 11:50 - Danielle (Guest) Yeah, and your hourly rate. We've already said this a little bit, but it can be genre specific. Yes, so Maria Pendolino likes to call it your pick up the mic fee. So whatever is like your baseline of what you will go into your studio, turn on your computer and like, do the work. What is that minimum? So you know, actually, if they're falling below your personal minimum pick up the mic fee, then it may not be worth your time. Maybe you can do other things like rest or doing physical fitness, or spending time with your family, or marketing or auditioning or whatever else that you need to be doing. You know the minimum amount that you would like to make her job or just at any moment to bring you into the booth. You know that minimum and then that actually helps you be able to say yes or no to projects as they come along. 12:39 But they are going to be genre specific. The amount of money that I make doing a 15 second national commercial is not going to be the same amount of money that I make when I'm doing an e-learning project, but I do know that the minimum to bring me into this booth to close the door and to like start talking and do what I need to do is X, and if it's not hitting X, then the answer for me probably is going to be no, or I know that I'm saying yes to it given other circumstances, and that's totally fine too. 13:10 - Anne (Host) Yeah, I may be different right now for you bosses out there that are only concentrating on voiceover, but when you have different avenues and you have different income streams, like, for example, everybody knows, I have the VO BOSS podcast because I'm on it. There's an income stream for VO BOSS, there's an income stream for VO Peeps, which I also run, and there's an income stream for Anne Ganguzza Voice Productions. 13:28 And so I know, for an event that I put on for VO Peeps, I want to make a certain amount of profit, and so, therefore, I have to determine what am I going to pay my guest director, what am I going to pay to my assistants to promote it, right, on social media? So there's a cost for all of that. And then so there's a number that I want to hit. There's amount of sales that I want to hit so that I can make a profit, or I can make the profit that I want to make for my monthly goal. So I literally have that, and those are actually easy to calculate, because those numbers are like, well, I know I need to make this. Now, how am I going to sell that many tickets, right? Well, I need to pay my assistants to help me market it through email, through social media, and so you just kind of run it down that way. 14:10 And then for VO BOSS, right? So I pay out a lot of money to produce this podcast, right? What do I need in order to support? You know what it costs on a yearly basis to host it on its own website? What do I need to pay my assistants to create the webpages that do the show notes? What do I pay the monthly subscription fee for, believe it or not, Riverside, which is how I record it, and Riverside does some transcripts for me. It does some YouTube shorts for me automatically. 14:39 So all of that stuff is calculatable, and so I love being able to have the different avenues of income and streams of income, because those are ones I can depend on and they're more concrete than getting a voiceover job, because that's the unknown, right? So I have a certain amount of time that I'm spending trying to acquire that voiceover job. I'm marketing, I'm doing direct marketing, I'm auditioning, and then I don't know if I get it. Then, believe it or not, that takes precedence over everything. I mean, voiceover is my highest paying per hour, and so, yeah, ultimately, if I didn't want to do all these other things like coaching and my VO BOSS podcast, I would spend all of my time marketing and dedicating myself to voiceover, because that's my highest paying per hour rate, and so that to me makes sense. However, I like to have multiple avenues in case there are those fluctuations in the market, which there are. 15:29 - Danielle (Guest) What I like about what you just said was you basically are able to reverse engineer your hourly based on numbers you are able to look at. Okay, this is how much I need to make. So therefore, I need to sell this number of seats to an event, or I need to have this much in sponsorships for the podcast, or what have you. I love that, because then it takes away from, oh well, I'm not really sure, or I'll go to this rate guide and use this number that was provided for me, because it may or may not be the right number for you, using the rate guide for an example. 16:07 It is a guide. It may be that the numbers that you see there may align with what your number needs to be that you can hit. What you can do is you can look at a lot of your expenses. You can look at what does it cost to run the business of you on a monthly or annual basis, and then you can actually calculate, okay, I want to spend this much time in the booth, or I want to spend this much time doing auditions, and you can actually calculate what you need so that that number is specific to you and then you know it. It doesn't necessarily need to be something that you put on your website, but when someone asks you how much would you quote for X, you are able to calculate your time, because your time has a lot of value, what is generally acceptable in the market, and then you can kind of give the number that is right for you and your business and your life. 16:57 - Anne (Host) Absolutely. And you know, I know that I kind of opened up that part of the discussion by saying, well, maybe I'm different, but in reality, we're all entrepreneurs. I mean, I love the different individual income streams that I have, and I encourage you, as bosses, to have those multiple income streams because, I mean, I'm not special. I mean, I literally just said, oh, I want to do this, and so, therefore, how am I going to be making money of this? If I wasn't making money off of, let's say, my other brands, then I would reconsider, well, are they worth it, right, are they worth it for me to continue? And how will I move forward from this point on? And so, bosses, man, I mean, the world is your oyster. 17:35 I mean, you are entrepreneurs. You can have any other income stream you want and really reverse engineer it just the same way I did. I mean, you could literally be like, okay, my first love is voiceover, and I want to do that. But also, you know what, I actually love shopping, like, I love grocery shopping, so I'll do Instacart, so that might be another income stream, right, or whatever other things that you love and you're interested in doing. Figure out, okay, maybe being an Uber driver is something. I know a lot of people that do that for money and they love it because they love driving, and so you can listen to lots of podcasts while you're driving, by the way, and so you could be doing double duty, like, educating yourself by listening to Danielle and I on your route. So figure out, like, okay, what am I making per hour for my Uber, right, services, and what am I making per hour for whatever my Instacart or whatever else you're doing? It doesn't have to just be voiceover. 18:23 Mine just happened to be voiceover related because they were things I wanted to do. I literally just said, oh, I want to be on the radio. You know what? The closest thing to that is a podcast. Yeah, let me see what that takes, right? And now I said, wow, it cost me money for this podcast, much more than I originally thought. How can I make some of that investment back? Right, how can I do that? And so I came up with the VO BOSS Blast. I came up with sponsorship options, I came up with ads that play, and so ultimately, it becomes a marketing venue for me. So lots of different ways, bosses, that you can work in your hourly rate and figure out what it is that you're making, and if you get so many rides from Uber, you know how much money you're making. I mean, that's concrete, it's there. 19:06 - Danielle (Guest) Yeah, that's. The great thing about numbers is that it is concrete and you know how much that you can expect to make, and then you can figure out what to do with that money. Maybe it is staying within voiceover, but maybe it's looking at different genres that you're not usually working in, and you can calculate a higher hourly rate for a different genre and then use it that way to scale your business. So there's so many different ways to do it. I do love that you said to be creative and figure it out, because it doesn't have to be what you are seeing everybody else do. Your business is yours and you can make these decisions and you can choose how much you are getting paid. There's a lot of power in that. When you've taken the reins and said, okay, this is my floor, you can make so much more money in deciding how you want to diversify your time and diversify your hourly rate with maybe different genres or different ways to bring in money. I love that. 20:01 - Anne (Host) And how exciting is that? 20:03 - Danielle (Guest) Danielle, it's incredibly exciting. 20:04 - Anne (Host) Right. You said like, literally it's you, you're in control. Yeah, bosses, I want you to just sit there with that for a minute. You are in control of your business, of your destiny. Yeah, and so many people get so preoccupied with what other people are doing. This is your business. How exciting is that? You have, literally, you can do anything you want. I mean, really. I mean, if you're going to sit back in an intelligent and figure out, okay, I really would like to do this, how can I achieve income? How can I? 20:29 - Danielle (Guest) How can I achieve income? How can I? That's a really important question to ask yourself, because when you ask yourself, how can I do it, you, as a creative, will probably be able to figure it out, and you're not waiting for somebody else to give it to you. 20:43 - Anne (Host) It's so empowering. It's so empowering. I often say, having worked in corporate before and in education, honestly, like, I could never go back to working for someone again. To be quite honest, I mean, outside of working for a client for a brief amount of time, in which point I do it and they pay me and I'm out, I'm in, I'm out, I get paid. I love that. So what would be your recommendations on somebody, like, what would be their steps to sit down and figure out their hourly rate? What would you suggest they do first? 21:14 - Danielle (Guest) I would look at what you're currently working on, because again, it's probably going to be genre specific. So if you're doing a lot of non-broadcast narration, for example, you're talking about corporate narration or medical narration, figure out how much of that work you're actually currently doing and how much are you typically charging for that, so you know your non-broadcast hourly rates. And then you can also take a look and see if you're doing commercials, for example, if you're doing like TV and radio commercials, how much are you typically getting for that? And then what can you do to affect those numbers? You can raise your rates if it's non-broadcast. You can start doing more direct marketing, for example, maybe to find and bring in more clients. You can streamline your process. Maybe that is bringing in an editor. That's going to cost you money, but then you can kind of buffer and build that in. 22:08 But look at what you're currently doing, look at how much you're currently charging, and figure out what you can do about it. The easiest thing, it's not easy, easy, but it is something that you can do pretty quickly is increasing your rates. I mean, it's the end of the year. Rate increases are pretty normal for a lot of businesses. So take a look and see. Have you increased your rates in the last year, two, three years? If not, now's the time to do that. Maybe it's your cost per word for e-learning, something, anything, and you can make incremental changes that way, which will have huge benefits for your business. 22:42 - Anne (Host) Yeah, there's something to be said for the whole end of year, increasing your rates, even in times of hardship and bad economy. Right, you've also got to take that into effect, like what's the market rate, but you can increase your rate in a way that's not like obscene or it's not like a big jolt to your client. And a lot of times I'll preface, I have not raised my rates for five years and so I'm happy to have you continue as a client. However, I need to raise my rates. That is like a whole bold move, but it is something that you can absolutely do, because people raise their rates. I mean, companies raise their rates all the time. I see it, they raise their prices, and so you can do that. Just be careful, you don't want to make it too much of a price change so that it will jolt your customers into saying, I can't afford that. And even if they do say that, the cool thing about working with clients is that you can always like negotiate. 23:34 You can always backtrack and say, you know what, I've always loved working with you. Perhaps we can come to an agreement. And sometimes you do have to like. I mean, I've had it where a client says, I absolutely cannot pay any more than I am right now, and I'll say, you know what, I really love working with you, and I'll make that decision whether it's going to be worth my hourly rate to continue working with them or if it's time to say goodbye. And there have been times that I have said goodbye, and it's okay because it allows me my time back so that I can make more money per hour. 24:03 - Danielle (Guest) And if you bring in a new client that is paying this higher rate, then it kind of becomes like self-cleaning, in a way. And that's really great. It's a great way to increase your rates as time goes on. Another really great way to increase your rates is to get really comfortable with negotiating and understanding how to negotiate effectively. 24:22 - Anne (Host) Can I say that enough? 24:24 - Danielle (Guest) Yeah, that's a really great way. And then you can figure out what your new hourly rate would be and you can negotiate based on what you know that to be, or, as Maria said, your pick up the mic fee. You can just make sure that you're hitting that standard minimum every single time. 24:39 - Anne (Host) Absolutely. And, like I said, concrete data is great data to reverse engineer, to understand that hourly worth. So, for example, like as I mentioned to you, commercial work for me is my highest paying work. Right after that comes medical narration, after that comes corporate narration and e-learning, because I charge the same. So I have a rate guide that I have a base knowledge of. Here's what I charge, right? And of course, I always promote GVAA rate guide and the rate guides that are out there to go for benchmarks and know that they're just benchmarks. 25:08 You can always adjust and, knowing this, saying, okay, I make the most of my money for non-broadcast narration on medical, perhaps I want to up my marketing in that genre, right, how can I get in front of the people who can hire me so that I can make that money? And so that might be. You're going to have to figure that into. Well, I might have to spend an extra hour marketing, and again, I can sacrifice that because I have my Uber on the side, which is bringing in money so that I can do that, or I can increase my Uber hours if I can't, or I can maybe rely less on one and then increase the other. So it's constantly, I think a balancing act, Danielle, it is. Right. 25:47 - Speaker 3 (Announcement) In terms of. 25:47 - Anne (Host) Okay, how can I do this? And so you should, first of all, have an idea of what you're worth. You should establish that number, right? So figure out what it is that you're getting paid the most for, and so, like, I'll do, like, a per hour rate of $1,500 to $1,700 for a medical, non-broadcast narration, right? Breaking that down, that's a pretty high yield, right? So then what is my coaching rate? Okay, so my coaching rate is $200 per hour, or you know what I mean. So how much coaching do I need to do per week? Or how much do I need to do to bring in? I usually like to think of it in terms of monthly, because I know that I have a certain figure that I like to achieve at the end of the year. Break it down to the monthly and then break it down to weekly, and sometimes weekly is tough because of the uncertainty of VO jobs, the cyclical nature of how things go, yeah. 26:33 Yeah, but then there are certain things that I know that every month, I do an event for VO Peeps and I'm going to make this amount of profit, right? Every month I have a subscription to this and so that's going to cost me this much, or I have people sending me money for a subscription, and so maybe I need to increase my marketing to get my subscriptions up, right, people subscribing to VO Peeps, that kind of a thing. So there's so many things that are good and concrete, and repeat clients are also. They're better than non-repeat clients, aren't they? 27:01 Because we can almost rely on them, we know what rate we're getting from them, and so it's easier to kind of juggle those numbers around. And then there's the uncertainty of the audition. Are we going to get the gig? And if we get the gig, do we have a client? Can we turn that client into a return client? So there's all the uncertainties. So you leave a certain amount of hours to handle that, right, to handle that. And if that's not happening in those hours, then you work towards maybe increasing your marketing to that, so it's not just like, I'm making the money. You got to have, I think, a certain amount of hours where you're spending the time working on always marketing or auditioning, trying to achieve those numbers. 27:40 - Danielle (Guest) Yeah, I love that because it gives you a machine that's kind of like bringing in the next client and then you know what to do when it goes through your pipeline of actually booking or onboarding that client or trying to find more clients like the ones that you're currently working with. It gives you something that's like always working in the background and then what you're currently doing, and you can figure out how to tune your rates to maximize whatever is coming through that pipeline. That's right. 28:08 - Anne (Host) Good stuff, good stuff, Danielle, yeah. All right. Bosses, go out there and figure out what you're doing, figure out how much you're making per hour, depending on what division of your company that you're working in. So what are you making in commercial, what are you making in non-broadcast narration, what are you working in other income streams? And then plan accordingly and negotiate, yeah, and negotiate, absolutely. All right. Big shout out to our sponsor, ipDTL. Find out more at IPDTL.com. We love ipDTL. 28:41 - Speaker 3 (Announcement) You guys have an amazing week, and we will see you next week. Bye. 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 voboss.com 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.

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The news to know for Wednesday, May 21, 2025! We'll tell you what's included in a big budget bill, how President Trump is working to sell it, and why even some Republicans are holding out support. Also, we'll explain President Trump's plan to build a multi-billion dollar “golden dome.” Plus, what to know about the government's new COVID vaccine policy, what vegetable is behind an outbreak making Americans sick, and why some of the NFL's biggest stars could soon play flag football. Those stories and even more news to know in about 10 minutes!    Join us every Mon-Fri for more daily news roundups!  See sources: https://www.theNewsWorthy.com/shownotes Become an INSIDER to get AD-FREE episodes here: https://www.theNewsWorthy.com/insider Sign-up for our Friday EMAIL here: https://www.theNewsWorthy.com/email Get The NewsWorthy MERCH here: https://thenewsworthy.dashery.com/ Sponsors: This episode is sponsored by BetterHelp. Give online therapy a try at betterhelp.com/NEWSWORTHY and get on your way to being your best self. Shop the SKIMS T-Shirt Shop at https://www.skims.com/newsworthy #skimspartner To advertise on our podcast, please reach out to ad-sales@libsyn.com