Podcasts about ced

Vanderbilt running back and Austin LBJ legend Sedrick Alexander joins the On Second Thought podcast to discuss the upcoming Texas game and his team's rise to the top 10 of the national rankings. Hosts Cedric Golden and Kirk Bohls also discuss the possibility of Texas quarterback Arch Manning playing after sustaining a concussion at Mississippi State and the chances of his backup Matthew Caldwell leading the Horns to a needed win. *Ced's Corner newsletter* Make sure to sign up for Ced's Corner, the new newsletter from the mind of the American-Statesman's resident sports columnist Cedric Golden. Ced will give you hot takes and his view of Longhorns sports and everything beyond via email each Tuesday. _https://www.statesman.com/newsletters/cedrics-corner/_ *Texas Sports Nation with Kirk Bohls* Sign up for Texas Sports Nation with Kirk Bohls to get news, exclusive analysis and insights on University of Texas sports. Plus, get notified when Bohls publishes a new column. _https://www.houstonchronicle.com/newsletters/kirk-bohls/_ Learn more about your ad choices. Visit megaphone.fm/adchoices

SEC Network host Dari Nowkhah joins the podcast to discuss Texas' latest road test at upset-minded Mississippi State and if the Texas A&M Aggies are a real threat to the SEC crown. Hosts Cedric Golden and Kirk Bohls also discuss if Texas coach Steve Sarkisian should give up play-calling duties in the future and what quarterback Arch Manning needs to take the next step in his development. Suggested reading Texas Longhorns' record reveals sobering truth: https://www.statesman.com/sports/columns/article/texas-vs-mississippi-state-sec-longhorns-sarkisian-21110061.php Will five SEC teams make the CFP: https://www.houstonchronicle.com/sports/college/longhorns/article/texas-defense-nick-saban-sec-cfp-arch-manning-21111617.php Should Texas bench Arch?: https://www.statesman.com/sports/college/longhorns/football/article/texas-football-podcast-arch-manning-steve-21110622.php Ced's Corner newsletter Make sure to sign up for Ced's Corner, the new newsletter from the mind of the American-Statesman's resident sports columnist Cedric Golden. Ced will give you hot takes and his view of Longhorns sports and everything beyond via email each Tuesday. https://www.statesman.com/newsletters/cedrics-corner/ Texas Sports Nation with Kirk Bohls Sign up for Texas Sports Nation with Kirk Bohls to get news, exclusive analysis and insights on University of Texas sports. Plus, get notified when Bohls publishes a new column. https://www.houstonchronicle.com/newsletters/kirk-bohls/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Anne Ganguzza sits down with Billy Collura, a powerhouse agent with over 30 years at CESD New York. Billy shares his unique perspective on the dramatic evolution of the voice acting industry, from the early days of union-only radio spots to the current market dominated by non-union and digital opportunities. This conversation provides essential insight into the biggest voice acting trends that have shaped the industry and reveals the simple, authentic quality that makes a voice actor successful today. 00:03 - Anne (Host) Hey guys, it's Anne from VO Boss here.  00:06 - 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.  00:12 - 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.  00:23 - 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.  00:34 - Anne (Host) Join us guys at VO Boss and let's make your voiceover career soar. Visit vobosscom slash VIP-membership to sign up today.  00:43 - Speaker 3 (Announcement) Slash VIP-membership to sign up today. 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.  01:08 - Anne (Host) Hey everyone, Welcome to the VO Boss Podcast. I'm your host, Anne Ganguzza, and today I am thrilled to welcome someone who truly defines what it means to be a powerhouse in the voiceover industry. With more than 30 years at CESD New York, Billy Collura has been at the forefront of commercials and beyond, representing talent with a direct and grounded approach that has earned him the trust of clients and voice actors alike. I think it's fair to say that he doesn't just follow the changes in the business. He really helps to shape them. So, Billy, I am so excited to have you here on the podcast.  01:44 - Billy (Host) Thank you for asking me. Yeah, this is so nice, yeah.  01:47 - Anne (Host) Yeah, I love it, and of course we're like on opposite coasts here, so you're on my home coast and so I do miss New York quite a bit and we did have a little.  01:58 - Speaker 2 (Announcement) How often do you get out here, pardon me, do you get out here often?  02:00 - Billy (Host) Do you ever get out. You know what?  02:01 - Anne (Host) Not as often as I should. I really have now started to say I'm only coming out during the warm season because I'm done with the snow. Yeah, I hear you. But I would imagine like do you travel like elsewhere in the wintertime in New York, Because I know I stay here.  02:22 - Billy (Host) I travel a lot in general um during the course of the year, but um you know, I right now I'm upstate in well. I'm up in the Hudson Valley and in the city of Hudson, which is two hours North of Manhattan, so I go back and forth Um in the winter time. No, I'm usually, I don't know, I'm usually in the Northeast sometimes.  02:43 - Anne (Host) Okay, Are you a skier? Are you a skier? No, absolutely not, Absolutely not. That was, that was what a lot. What kept a lot of people on the East coast? Um, in my area anyways, they're like oh no, I have to be able to ski in the winter.  02:56 - Billy (Host) No, I don't like the cold.  02:57 - Anne (Host) Well, I have a. I have a mountaineer in California, Uh huh.  03:00 - Billy (Host) Uh-huh.  03:02 - Anne (Host) Oh my gosh. Well, anyways, it's so nice to see you again. It's been a while. I saw you at VO Atlanta and I'm just really thrilled that I have the opportunity to talk to you. I know how busy you are, but I'm just so excited that the bosses are going to get this opportunity to really benefit from your wisdom. And so, benefiting from the wisdom speaking of that, you've been at CESD for over three decades. Um, that's, that's amazing. So how would you say that your role as an agent has evolved during that time?  03:37 - Billy (Host) Well, you know like it started when I started. Um, it'll be. Um, it'll be 32 years in May. Oh my gosh, when I started, voiceover was a smaller industry and I dabbled in a little bit of everything, okay.  03:55 - Speaker 2 (Announcement) I did commercials.  03:57 - Billy (Host) There really wasn't. There was no internet back then. So we did radio and TV commercials and industrials and I'm not even sure cable was around when.  04:08 - Anne (Host) I started. I hear you. You know we didn't have computers, any of that.  04:13 - Billy (Host) So we did a little bit of everything. And then, you know, and promos, promos were a thing, and narration and trailers, and so, you know, we did a little bit of all of that. And then, as the industry kept getting bigger and bigger, we started specializing. And all of a sudden, in animation, I dabbled in gaming, but I also, you know, but pretty much my focus was commercials, because that's where the money is, you know, and that was the day where it was just, you know, it was just TV and radio, and you made the actors made a lot of money. Yeah, it was only union, we only worked on union jobs. And now fast forward to now, where 60% to 70% of my desk is non-union. We started doing non-union in 2019. Okay, the union opportunities have pretty much dried up, and I say that, but it's ebb and flow.  05:22 I mean right now this year it was a slow summer for some reason. It was like the old days, it was really slow and I mean that union and non-union. And then I go away on vacation and it just like exploded while I was away and I've been and since then I've been playing catch up and it's been so busy with union, lots of union stuff with non union. Yeah, so it's been great there.  05:49 Yeah. So I mean that's changed and I guess for me what's changed for me is because now I specialize much more on commercials. I do have a few non-union accounts, but I have my large union study accounts, steady accounts. Um, so most of my work, uh is you know, is in the commercial world. I also happen to handle the audio books, but I always say I'm not an audio book agent. I'm the agent at CESD that handles the audio books.  06:18 - Speaker 2 (Announcement) So it's a little difference.  06:20 - Billy (Host) Um so, but the audio book, what I do love about it. You know an an an agent who left um cause she was having. She got married and had babies and she said, take the audio books. They're the nicest people in the world. And I got to say they really are, and so I've kept it.  06:36 I love it. The people are so nice. Um, I really, really enjoy it. So that you know, so I I've been doing that. I also do ADR and loop group stuff, again very specialized, and there really aren't a lot of industrials. Now I know some of the other. I'm one of five, six agents in the department and then there's another two agents that work with agencies that cater to medical industrials.  07:04 - Speaker 2 (Announcement) So they're doing I don't do personally.  07:05 - Billy (Host) I don't do a lot of industrials. I think a lot of the industrials have gone to the pay-to-play sites, so but the union stuff, the medical ones, they are still at the big agencies. I just personally don't happen to have those. I would say maybe the commercial aspect of right Healthcare like pharmaceuticals and that sort of thing is huge and more and more of those blue chip companies are going non-union and those rates are you know.  07:34 - Anne (Host) Sure. What do you attribute that? Why is that happening? What do?  07:39 - Billy (Host) you attribute it to is when it started, when digital work started happening, and these great companies, the Droga5s and there was so many, that's just the first one they were doing great work with the digital work. You know, they were just with stuff before even streaming, when they were just doing they were making commercials for digital work and they were doing fine work. They were doing really good work and these companies, these blue chip companies, were saying, hey, you did that for this much money, why don't you just take all of our network stuff? And that's how I remember, like 10, 12 years ago, a large fast food chain started going, you know, went totally non-union. And then the large fast food chain started going, went totally non-union.  08:25 Then there would be some that because they had a celebrity voice on certain spots, and then they would get a third party and more and more I feel like these agencies, these digital agencies, just kept getting better and better at it and the actors were getting better and better at it. And it's not like the cable stations that you see up here that you know these infomercial things that you know that you can tell it's non-union. You know I've fallen and I can't get up kind of stuff. These. They're doing great work.  08:56 - Anne (Host) I can't tell, are they doing great work because they have great actors or are they doing great work because the entire production value of it?  09:05 - Billy (Host) Yes.  09:06 - Anne (Host) Yes, yes, you know, people are getting better at it.  09:09 - Billy (Host) The voiceover people certainly, and it's not even I mean the voiceover so many people. Covid just changed the game and everybody you know voiceover was the one business in town that didn't shut down during.  09:23 - Speaker 2 (Announcement) COVID.  09:24 - Anne (Host) And every I always say every jaboni with a mic, you know, just set up a studio at home and said I'm going to do voiceover, and not only you know they were well-established Broadway and TV and film you know everybody was doing it and that's and that's so interesting because I would say the majority of people that you know cause I was I was super busy coaching during COVID and I just had so many people that just wanted to like make the demos and get into the industry. But I had a lot more of the talent that were more beginner right to intermediate. But I would imagine that with COVID, with celebrities right them wanting to get into voiceover because what else was there? Because they weren't able to go into a studio, and so I would say that a good portion of that, I would say a good portion of people that were getting those jobs, were probably the celebrities right.  10:27 - Billy (Host) Absolutely coaching. You know they just kept getting better and better at it. And you know, and, and we're willing to work for low wages, I mean that's the other thing. And you know we always say somebody takes a job for $100. You know it's just a race to the bottom. Yeah, you know, if you're gonna add, because you know we don't work on the non union stuff, we don't work on the non-union stuff, we don't work on certain things. I won't work on stuff just because it's not worth my time.  10:48 - Anne (Host) Sure.  10:49 - Billy (Host) And I don't mean to be like, oh, but $250 is a lot to some people. Oh yeah, for all the work that I have to go into it, for me to do it and have my assistant do it and doing the editing to maybe get it, it's just not worth it. But I do. I mean that's usually. My threshold is 250.  11:10 - Anne (Host) And I understand that because I always tell people, because I do a lot of non-broadcast narration, coaching and demos, and I'm always telling people they're like, well, I want an agent. I'm like, well, an agent doesn't get excited about non-broadcast stuff because it's a one and done thing. You don't make your money on that, and so typically you want to have a tip top commercial demo because that's where they're going to be making their money with the residuals and and that sort of a thing. So would you do? You think it has to do with the sheer volume of people that got into voiceover as well. If you've got enough, you know, if you throw spaghetti against the wall right there, some of them will stick. And so then I started to drive down. I'm going to say it started to drive down maybe the prices, uh, or people willing to do the work for less, because it just got to be competitive.  11:56 - Billy (Host) It did.  11:57 There's so many people doing it now, so many people, and especially in the non-union world, there's so many opportunities out there and you know, with the pay to plays and I've kind of changed my tune a little on the pay to plays and I kind of see they're there for a reason. They're a great, you know, tool for learning, for getting the experience, for the auditioning. And I and I learned recently when I was at a conference in Holland and met the CEO from Voices 123. And I learned that they love to put people together and to put the actor and the company together. Take it off the platform and do your thing.  12:41 They don't want to micromanage, like there are other pay-to-plays that micromanage everything.  12:45 But I really found that you know, oh, that's really nice, and then people can make money that way. They're not interested, they're just interested in making the match. So, but, that being said, there are so many people that are doing this now and, yeah, driving down the prices because you know, they may be this may not be their full-time gig, it just may be a side hustle for them. So, yeah, sure, an extra $200, an extra $100, an extra $350. That can accumulate. But unfortunately then they're like well, you did it last time for $100. Why can't you? So it's hard, it's hard.  13:21 - Anne (Host) It is, but would you say that the amount of jobs is diminishing or no, it's just as volume you know, I don't see volume as normal.  13:33 - Billy (Host) I'm busy, you know, but I don't know, like, like I said, this summer was slow with the opportunities, with the, with the auditions. I find that my casting directors, my union casting, just my casting directors in general, um, they, you know, I have some that are busier than others, some I will hear from, you know, once every other month, and then some I will hear from three or four times a week. You know, um, so it's and it's all you know. There's no logic to it.  14:03 - Anne (Host) And then on the um isn't that the truth. Yeah, and then um after all these years, wouldn't you think like you could? You could predict, you know.  14:14 - Billy (Host) I would say to actors you know, I'm not booking, it's just one phone call, it's one job, don't forget. They're only picking one person, but yeah, yeah, picking one person. You, yeah, you know, only picking one person you know and you don't know.  14:25 - Anne (Host) That's a way to put it in perspective. Actually, if you think about it, but in 400,.  14:30 - Billy (Host) You know how many people are auditioning.  14:31 That's why with select VO. You know that only allows you X amount of people to submit. So if they, if the agency says, if they invite you and they say you can only submit three people per role, they won't let you submit a fourth person. So you really have to be smart and we're not the type of agency that will send you know to ten people and then, sophie's Choice, the three that I want. You know, I don't believe in that. I don't. I feel it's a waste of time of the actor. It's certainly a waste of time for my assistant and for me to have to listen to, then you have to listen to them Exactly.  15:10 - Anne (Host) What's the point, you know, and so that translates to me to a good relationship with everybody that's on your roster, absolutely, that that knowledge of their capabilities and you can communicate, uh, back and forth to make sure that the two of you are are, you know, keeping up with one another, and you would be the one that say, okay, I'm going to handpick this audition and send this to this many people, because you're the one that has to do the work right To send it the top three, to the. So the client.  15:43 - Billy (Host) Yeah, absolutely so. It's my reputation and there are some casting directors that you know they will.  15:48 I will submit a list and they will pick who they want to hear you know, back up, if I lose, or if we lose somebody, who else would you like? Or, you know, sometimes they'll say these are the three I want to hear. Send me one of your choice that maybe I, somebody, I don't know, um, and then there are certain casting directors that will micromanage and they have to. They, you know they will only see these people and they're, you know, not flexible. But it just kind of makes me a better agent.  16:14 - Anne (Host) That's why we're.  16:15 - Billy (Host) Cesd is an exclusive agency. We don't oversign in the union or non-union world. We're still building up our non-union roster. You know we're still doing that, but that's where we have the most amount of opportunities. You know, in the non-union world, Sure, Plain and simple.  16:34 - Anne (Host) Absolutely, absolutely. So what would you say after all these years? What's kept you loving your job?  16:42 - Billy (Host) Because it's different every day. You know, that's the— that's the thing. I never know what's ahead of me. So I, you know, I just love. Every day there's some, there's a new challenge, there's something new. Also, recently I have a new assistant who I adore and I love teaching him. He's a little sponge and he wants to learn.  17:09 And so that kind of inspires me to want to teach him, and you know so that that is. I guess that's the difference, and also being able to, because the business has changed. Remotely, you know, I can start earlier, I'm not in the office, I I can work later, you know. It just kind of like the whole. It's such I don't want to say a relaxed, but I feel I feel more relaxed Now. It could be because I've been doing this for a hundred years, but I just feel relaxed, I enjoy what I do. I don't feel the pressure. I don't feel like there's no such thing as a voiceover emergency If somebody screws up or, you know, if I've given you know there's no such thing.  17:51 - Anne (Host) Bravo to that. I always say there's never a VO emergency.  17:54 - Billy (Host) No, there's never a first you know, if something went wrong, don't freak out. How?  17:59 - Anne (Host) do we fix it? How do we?  18:00 - Billy (Host) fix it, that's all you know.  18:02 - Anne (Host) Now, that's from your perspective. What about your client, your casting director? Your client's perspective? Are there VO emergencies? Yeah, there could be, that's on them, not on me. Yeah, okay, I love that.  18:13 - Billy (Host) I don't, you know, I wanna help fix the problem, you know, sure so. And I mean, yeah, you know, it's always something. Fortunately I haven't had any of those emergencies in a while. But you know, the other night I was it was nine o'clock my time and an LA. It was an LA agency booking a client. She happened to be on the West coast, so it worked out okay, but it was nine 30. And I was like you know, I'm old, I can't stay up. And then I thought, and I got a text from the casting director she goes we want to book so-and-so. I left all the information on the email. So I was like, oh well, I have to finish Gilded Age, this episode, and then, as soon as I'm done, I will get on my computer.  18:56 - Anne (Host) I love it, that's great?  18:59 - Billy (Host) I guess yeah. So that's what keeps me going. The relationship with my clients, I don't. It's different because back in the day, actors used to come into the office to audition. West Coast was different because you guys were MP3ing long before, because you all wouldn't get in a car and drive a half hour to the studio.  19:20 - Anne (Host) But in New York, well, because of the traffic.  19:24 - Billy (Host) Yeah, yeah, and that's why you couldn't get to three auditions back in the day, but it was our job in New York to get you, you know, to get you from the Upper West Side down to Wall.  19:34 - Anne (Host) Street over to Midtown yeah, I know so many voice actors who still um go into studios to audition in New York. I mean, I almost don't hear about it anymore, except for well, I'm sorry, excuse me to go into the go on for booking.  19:48 - Billy (Host) No for bookings, they will.  19:49 - Anne (Host) They encourage that now but I have heard people in the last couple of years. I mean it's not every day, but sometimes they are going in. I don't know if it's to audition or if it's to actually do the job it's usually you know there's one or two the studios.  20:03 - Billy (Host) You know a couple of the studios that do auditioning, because that's what changed? Oh, okay, that makes sense, like all the advertising agencies that were in-house casting directors and those casting directors ended up going to the studios in New York and they have in-house casting directors, so they will encourage the Sonic Unions. The. Headrooms the Sound Lounges they will encourage hey, if the client is local to New York, boom, have them come in. Oh, that makes sense. And it kind of opened up because not everybody got SourceConnect especially our older clients.  20:40 It wasn't cost effective for them for that one audition every other month. It wasn't so the foreign language people, they weren't getting it because there weren't enough opportunities. But especially I I want to say the older clients they really weren't getting so this kind of opened up. If you lived in New York you could still send an MP3 and you're able to go to Sound Lounge for the booking that was always that's always a nice caveat.  21:06 - Anne (Host) So I'm sure people ask you this all the time. Commercial voiceover has changed, evolved over the years. Advertisers have changed how they buy and consumers have changed, I think, how they listen. What would you say is what sort of things have changed in terms of trends for commercial VO? What are you looking for now that maybe is different than what was relevant maybe five, even five or 10 years ago, Because I know probably you're going to say like 30 years ago it was more of that announcer sort of style, it was promo. But you know, maybe five, 10 years ago, what has changed?  21:43 - Billy (Host) You know, it was the, you know, when I first started. It was the time, when, you know, Demi Moore started with Keds and there was that raspy, damaged sound that has kind of you know, demi Moore started with kids and she there was that raspy damage sound that has, kind of you know, was such a thing for so long and our and I know our women back then, you know, were the most successful.  22:04 - Anne (Host) I coveted that which is not a part of my genetic makeup at all. I'm like I can't, I can't get a raspy.  22:11 - Billy (Host) No, if you don't, you know you can't put oh, I woke up with a, you know, with a sore throat today. I sound great I should audition. No, you shouldn't. Exactly. So that was. You know, that was always the thing and yeah, it was the rough and tough announcers and you know all those, all those guys, and then that kind of went away and it was the John Corbett kind of sound and he was you.  22:31 he stuck around for a long time as a prototype and now it's Paul Rudd and Rashida Jones and then. So those trends kind of changed. But then about 10 years ago, everything you know really were, it was people of color. You know they wanted voices for actors and that really opened up a wide, you know a wider net. There was no general market anymore because they used to say, you know, they were very specific, we want a Caucasian voice. But now you only see that if you're doing a demo for the on-camera and the on-camera actor happens to be a certain color. But they want authenticity. I remember you know getting. Now, everybody, especially in the union world, they want authenticity. I remember you know getting. You know everybody, especially in the union world, they all want to check boxes. You know, yeah, yeah, they, yeah, so they, you know it's all ethnicities. You know we want non-binary people and I'm like what does a non-binary person sound?  23:27 - Speaker 2 (Announcement) like I don't, it took me you know.  23:29 - Billy (Host) Then I realized oh, they don't really, they're just checking off boxes, but for the, you know, for the African-American community, they were in vogue. They were, you know, I would get breakdowns, all ethnicities, and the prototypes would be Viola Davis, Tiffany Haddish and Angela.  23:49 Bassett, Do the math you know, so that was a thing. And Angela Bassett do the math. You know, so that was a thing. And I think you know, I still think that that is happening. But I'm finding a trend like that is kind of changing, where general market is truly general market. Now they want, you know, it's everybody, it's everything.  24:09 - Anne (Host) That's great. Yes, I love to hear that.  24:12 - Billy (Host) That's the way it should have been, but unfortunately it was so the other way for so long and then it shifted and now it's kind of evening out.  24:21 - Anne (Host) Sure.  24:21 - Billy (Host) Sure, I don't know.  24:23 - Anne (Host) Well, I mean, that's what I was thinking would happen at some point. Right, it would even out and it's kind of nice to hear that that's happening.  24:31 I mean, I wouldn't want it to go another extreme you know, at all, you know, and especially because the world's a little chaotic right now and I know that it's affecting companies and their advertising, and so that to me says gosh, I hope that there's still as much opportunity for everybody as there ever was. And so that's just one of those things where I think if there was a slow part of the season, maybe it's people, you know. I think there's companies trying to gauge like what's happening and what's going to be what's going to work for them in terms of advertising.  25:08 And it's not so much the voice, but the whole, the whole thing, yeah, the whole, all of it On camera, all of it, all of it. How are they going to advertise it to be effective?  25:18 - Billy (Host) And I think you know, and I think that and this is just me I feel like voice wise, I feel that the union world is more tries to check the boxes, much more than the non-union world.  25:32 - Speaker 3 (Announcement) I truly than the non-union world.  25:33 - Billy (Host) I truly believe the non-union world they're gonna pick the best voice for the job, no matter what ethnicity you are.  25:41 I find, and I just because of the actors that I speak with, not only because I speak with my non-union actors in general so much more, just simply because there's so much opportunity there. But I notice, with my union actors I just don't A I don't really have that many opportunities for them. But you know it is. I speak to certain ones more, a lot more than the others. But I don't find that, I find it much broader in the non-union world. I mean it's a different and I've learned so much about the non-union world. I mean it's a different and I've learned so much about the, the non-union community and how. You know how different it is. I feel that it is much more I don't know how to say it. It's much more of a community, I feel.  26:27 I feel that they, they really are supportive of each other, they help each other. It's not as competitive or as petty competitive as it can sometimes be in the union world, it's just, and I think it's fabulous that they really everybody's out to help each other much more in that community.  26:52 - Anne (Host) Well, that's refreshing to hear. I like that from you, Absolutely. So then for you, for talent on your roster. What sort of qualities are you looking for in any talent that might appear on your roster? You know what's funny.  27:06 - Billy (Host) When I first started, you know, when COVID happened first thing, when I and I did a lot of these classes, first thing I was like, obviously the first thing was do you have SourceConnect? You know if?  27:17 - Speaker 2 (Announcement) you have SourceConnect, because so few?  27:18 - Billy (Host) people did.  27:19 - Anne (Host) You went right to the top of my list.  27:22 - Billy (Host) Yeah, if you had SourceConnect, and then it's, you know, and then it's just about reading the copy, and that's the same basic thing is, how do you read copy? Some of my most successful people, my white actors over 40, I have a couple of them and they just read copy. So well, I don't know what it is, they just they're just, they're just great they were. And so, yeah, there's. You can't teach it, it's, you know, it's just natural. This one particular guy, yeah, does he have that Paul Rudd feel to him? Just that guy next door, just that real comfortable, relaxed, nothing pushed, that's how he is in life and that's how it comes across Right, right. Oh, there was something else.  28:06 Oh, I did this one class and there was this woman, you know, like late 20s white woman, and there was just something. I was on a panel, I was one of three people and, oh my God, she was. There was just something about her read that made me crazy and like the next day I was like I have, you know, I want to set you up. I love you, you know, I love you the best. And now, here we are. I love you, know, I love you the best, and now here we are, fast forward to probably a little more than a year. She is one of my most successful actresses on my roster. And what is it about her? I don't know. She's just fabulous. You know, she just, she just reads. It's just, it's honest.  28:50 - Anne (Host) So I'm always looking for that honest. I like that honest, yeah, authentic, yeah. And I like, with that honest, I like that honest, yeah, authentic, yeah. And I like how you know we've heard for for so long right, bring you to the party, bring you to the party, it's that. I think that's so important. And and we throw it around like, oh yeah, okay, I can bring me, but and yet so many people still try to perform, uh and and if they really can just stop in their own head and and just bring themselves to the party because, like you and I like talk like there's something about like I really like Billy, and it's, it's, it's like an intangible thing and it's your personality, right, it's, it's how we connect.  29:23 - Billy (Host) And I think that's what's so right away. The first time we met, we would just like exactly.  29:30 - Anne (Host) I think that's the same thing for voice actors. If you can, you know, if, if you've got a great personality and you're like one of those people that you can connect with right away, I mean that's what I think we're looking for, that authenticity it's you're not trying to, you know, push anything and and this is who you are and I love to hear that, because I keep telling people gosh, you are enough. I mean it really is. Please don't try to be anything other than yourself, because I really like you.  29:55 - Billy (Host) Yes, and so many voice actors. They forget that.  30:00 - Speaker 2 (Announcement) you know this is acting and I said you know you got to get out of your head into your gut.  30:05 - Billy (Host) Whether you're selling peas for 99 cents, it doesn't matter. You have to be, you know, honest and authentic with it, so important. Now I have to ask the question authentic with it, so important?  30:14 - Anne (Host) Now I have to ask the question because you know probably everybody does. And what do you think about the threat of AI in the industry, and especially now that there's? It's not even just voice, it's on camera too.  30:27 - Billy (Host) Yeah, yeah. So I mean, we keep our eye on it. We read every contract, we read every contract, we read every breakdown. You know SAG is doing their best. Bless their hearts.  30:42 You know, nava is you know, above and beyond, what they're doing with the rules and the legislation and what they're doing. You know it's coming, it's not going away and it's going to get better and better. So we just try to keep our eyes and ears on everything and try to follow the rules and say, nope, large deal right now. And there was a huge component with um. They wanted an AI replica and fortunately, the person um doing it was like no, I've heard replicas of my voice and they're not, and they never sound as good as the real thing.  31:27 - Anne (Host) Um, so that's a really interesting point because I know for a fact that that's true, because I, you know back in the day. Well, back a few years ago, I started really delving deep into that and researching companies and how they made voices, and I've heard a lot of voices and there are some people who are amazing actors but yet their voice doesn't translate. Well, either it's the AI technology that has not given, it's just it's not doing the right thing for them and, yeah, it doesn't translate.  31:56 - Billy (Host) Yeah, and he said no, I, I will not. It's my, it's my voice, it's my reputation, and I will be available whenever they need me. They were like well, what in case he's what? You know? What if he's away on vacation?  32:08 - Anne (Host) Yeah, he said there are no VO emergencies. No, there are no VO emergencies, Right, there's no VO emergencies.  32:15 - Billy (Host) So yeah, so are we concerned about it? Yeah, am I concerned, absolutely, but you know I can't lose sleep over it.  32:23 - Speaker 3 (Announcement) It's coming.  32:24 - Billy (Host) You know, it's coming, and so we just have to manage it and make it work to our advantage.  32:30 - Anne (Host) Yes, I agree, I agree, I and make it work to our advantage. Yes, I agree, I agree, I love that. So I'm very excited because you're going to be doing a class for us, a VO Boss workshop, in November. As a matter of fact, it's going to be November 12th. Can you tell us a little bit about what we're going to be doing in that class?  32:48 - Billy (Host) Well, what I usually do is I like to just kind of give my spiel about what I've been doing and I guess the do's and don'ts of the proper way to get in touch with an agent, what to expect, what not to expect from you know. Once you're submitting to an agent, I just try to, I try to just say the things you know, kind of give the tips that actors need to know. You know what's proper, what's not, what's gonna get you. You know what's gonna get you seen, what's gonna get you heard. You know what makes it easy for me, the agent.  33:24 And I've come to also realize that it works differently from agency to agency. So I can only speak to what works for me, um, at CESD, um, but we'll, you know, I'll talk about that and I'll just talk about my feelings on on what it takes, what tools you're going to need and I mean like literal tools, what kind of demos you're going to need, that sort of stuff. Do a little Q and a and then read some copy, you know and anybody that does come to the class.  33:54 um, it's gotta be commercial copy, because that's that's what I do, you know um. I, I'm, I'm not going to be able to judge you on your animation copy or you know that kind of stuff. That's not really what I do. So we'll, you know, we'll do that and we'll tear it apart and hopefully get to two pieces within the class.  34:14 - Anne (Host) Yeah, I love that. We'll see. Yay, well, I'm very excited for that and, bosses, I'll be putting a link so that you can sign up for it, because I'm quite sure it's going to go quickly. Now my last question is because you said you're in upstate New York and I, you know, I have my own, like my own, nostalgic memories of upstate New York, and so, for me, I'd be riding a horse, you know, in in the countryside. So if you weren't an agent, philly, what would you be doing right now? Oh God, would you have a different career? Would you be retired and riding horses, or?  34:49 - Billy (Host) Yeah, well, you know, I've only had three different jobs in my life, okay, well, you know, other than high school jobs. I was an actor slash waiter, and then I became an agent. You know Like I've been it's you know. So I moved to New York to be an actor and that didn't happen, but I always kind of I was. I had a friend who was a commercial casting director and so I used to go in and help him out at the casting calls.  35:20 That was back in the days of Polaroids and signing up and I really was fascinated by it. And he would you know. And he kept saying there's an opening at this agency. Do you want to go? And I would go and audition, you know, to be an assistant. Sure, and then boom, boom, boom.  35:35 And then, it just so happens, he said CED, because we weren't CESD at that point it was looking to expand the voiceover department and was I interested, and my partner at the time said go and audition. I mean go and audition, apply for the job, cause one of these days you will make more money than me. And so you know. And um and so um, and now, every year, every year. I'm still in touch with him and I call him and I say thank you, greggy, for allowing me to have this job.  36:08 - Anne (Host) Here's my annual income report allowing me to have this job.  36:11 - Billy (Host) Here's my annual income report yes, so anyway, yeah. So I've thought about this. What do I do? I'm too old to be a waiter.  36:23 - Anne (Host) I'm not going to go back, though I think I would be really good at it.  36:25 - Billy (Host) I have these- I agree, actually, you've got the social I think I could do. Yeah, so do I go. But when I retire, whenever that is, I want to social. I think I could do. Yeah, you know, so do I go. But you know, when I retire, you know, whenever that is, I'm on a travel. I just love to travel, that's, that's my thing. So you know. You know, I feel like when this is behind me, that I will, you know, I'll just travel. I'm not going to be on a horse up here, but I always had.  36:50 You know, sometimes I've had, you know, I don't know if I even want another. You know job and I'm at that point now where you know, I'm old and I don't want another career. It's not like I'm. You know, I'm going to be an artist, or you know, I once thought I thought well, maybe I'll just go do community theater somewhere.  37:07 - Speaker 2 (Announcement) I have a friend.  37:08 - Billy (Host) I have a friend, interestingly enough, a little older than I am, lives in Chicago and he started taking an acting class just for the hell of it.  37:16 - Anne (Host) For the hell of it.  37:17 - Billy (Host) And he said, the others they love it because they have somebody to play the old man in all those scenes. And I thought, oh my God, that's great, I could do that. Yeah, I love that. I thought yeah, why not community theater you? Know, if that was it. Now there's no community theater in New York City, so if that's where I retire, you know. But if I was to retire up here, you know that would interest me, and you know because I am a lover of theater, so I do.  37:46 - Anne (Host) Yeah, Well, I feel like you kept yourself in the acting world, you know by being an agent I mean in that you know, it's still like a. It's still you're very much immersed in it, and so I feel like, if that was your one love, you came to New York, by the way. Where did you come from?  38:02 - Billy (Host) I grew up in Waltham Massachusetts, oh okay. Okay yeah, just a little outside of. Boston.  38:07 - Anne (Host) Yeah, very familiar with it. I went.  38:09 - Billy (Host) Yeah, I grew up in Waltham and then I went to UMass, Amherst and then to New York.  38:14 - Anne (Host) That was my. Oh, fantastic, yeah, there you go. Well, my gosh, it has been such a pleasure chatting with you today. I mean, I could go on. I feel like we could go on, but at some point, I do have to quit at some point.  38:32 But yeah, thank you so so much for sharing your wisdom. It's been really a joy talking with you. I'm so excited for November. Guys, bosses, remember November 12th. Get yourself to vobosscom and sign up to work with this gentleman. He's amazing, and I'm going to give a great big shout out to our sponsor, ipdtl. You, too, can connect and network like bosses like Billy and myself, and find out more at IPDTLcom. Guys, have an amazing week and I'll see you next week. Bye, bye.  39:05 - 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.   

Statesman Longhorn football beat writer Danny Davis joins the On Second Thought podcast and explains why he isn't wholly concerned about Kentucky potentially upsetting the No. 21 Texas Longhorns in Lexington Saturday. Hosts Cedric Golden and Kirk Bohls also chat with Daily Texan football reporters Lauren Hightower and Meaghan English who talk life as college student journalists. They also describe a recent mother of all road trips that involved two football games, a swim in the Atlantic Ocean and a prime rib dinner in The Big Easy. Ced's Corner newsletter Make sure to sign up for Ced's Corner, the new newsletter from the mind of the American-Statesman's resident sports columnist Cedric Golden. Ced will give you hot takes and his view of Longhorns sports and everything beyond via email each Tuesday. Texas Sports Nation with Kirk Bohls Sign up for Texas Sports Nation with Kirk Bohls to get news, exclusive analysis and insights on University of Texas sports. Plus, get notified when Bohls publishes a new column.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Stuart Watson, Alex Jones, Ross Halls and Mark Heath are back to bathe in the warm afterglow of Town finally beating Norwich in the East Anglian derby. The boys reflect on a historic day, relive the key moments, wax lyrical about Jaden's instant classic goal and hear from both Kieran McKenna and Big Cedric Kipre. There's praise for Ced, Jaden, the Town engine room and more, plus debates about the future for Jacob Greaves in the starting XI and whether Ivan Azon is pushing to unseat George Hirst as first choice. We revel in Town's brilliant bench too, savour Marcelino Nunez's star turn as the panto villain - and get a very special video message from Finland. Kings of Anglia is sponsored by Stardust Spirits. Get 20% OFF with promo code KOA at https://www.stardustspirits.co.uk/ Check out are other sponsor, Molecular! Get 10% OFF with promo code KOA10 at https://www.molecular-uk.com/ Subscribe on our website to watch the video version of the podcast - https://www.eadt.co.uk/subscribe/ You can shop the KOA range here - (kings-of-anglia.myspreadshop.co.uk) 

When announcing interest rate cuts earlier this month, Federal Reserve Chair Jerome Powell expressed concerns about the labor market, following major downward revisions to job growth data. But is the US Employment picture as bleak as the Fed sees it? Markets get a clearer view on Friday when September's jobs report is released. The data could have a significant impact on the Ced's actions in the coming months as they try to navigate what Powell calls a “very difficult policy environment.” Kenny Polcari, the Chief Market Strategist at Slatestone Wealth, joins FOX Business' Lydia Hu to discuss his expectations for Friday's highly anticipated jobs report, what he expects from the Fed in the coming months, and how much Wall Street is worried about a potential government shutdown. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Editors - Vikash Patel, Cedric Nairn-Smith and Kyle Reiter ACE Black Rabbit editors Viks, Ced and Kyle worked independently during post but still managed to collectively craft a complex narrative that stayed consistent in tone and style throughout the run of the series.  And while new guy Reiter described feeling like a "bench player" on the team, Viks and Ced benefited from a long working relationship that began with Viks mentoring Ced as his former assistant.  Regardless of any of their past experiences, star and producer Jason Bateman tasked the post team with creating a vibe that had tendencies drawn from Bateman's Netflix hit, Ozark but also from dark comedies like the Safdie brothers' Uncut Gems. Black Rabbit tells the tale of two brothers, Vince and Jake Friedken, former bandmates in a successful musical act whose lives went down different paths in the years that followed.  Rising-star restaurateur Jake is forced into New York's criminal underworld when his chaotic brother returns to town with loan sharks on his trail, opens the door to escalating dangers that threaten to bring down everything he's built. VIKASH PATEL In addition to his work on Black Rabbit, Viks won an Emmy® in 2008 for his work on TOP CHEF and was nominated for an Emmy® in 2020 for his work on OZARK.  Viks has also edited series that include THE SYMPATHIZER (2024), THE MORNING SHOW (2019), BATES MOTEL (2015-16) and LONGMIRE (2012-14). CEDRIC NAIRN-SMITH Prior to Black Rabbit, Cedric's editorial work could be seen on DAREDEVIL: BORN AGAIN (2025), MOON KNIGHT (2022), LISEY'S STORY (2021), THE BOYS (2019-2020) and BATES MOTEL (2015-2017). KYLE REITER, ACE 4x Emmy® nominee Reiter has edited such shows as MR. AND MRS. SMITH (2024), BARRY (2018) and ATLANTA (2016), a series for which Kyle would win an ACE Eddie award in 2019. The Credits Visit Extreme Music for all your production audio needs Hear Viks discuss cutting OZARK and THE SYMPATHIZER Listen to Ced talk about THE BOYS and MOON KNIGHT and DAREDEVIL: BORN AGAIN Check out what's new with Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

When announcing interest rate cuts earlier this month, Federal Reserve Chair Jerome Powell expressed concerns about the labor market, following major downward revisions to job growth data. But is the US Employment picture as bleak as the Fed sees it? Markets get a clearer view on Friday when September's jobs report is released. The data could have a significant impact on the Ced's actions in the coming months as they try to navigate what Powell calls a “very difficult policy environment.” Kenny Polcari, the Chief Market Strategist at Slatestone Wealth, joins FOX Business' Lydia Hu to discuss his expectations for Friday's highly anticipated jobs report, what he expects from the Fed in the coming months, and how much Wall Street is worried about a potential government shutdown. Learn more about your ad choices. Visit podcastchoices.com/adchoices

When announcing interest rate cuts earlier this month, Federal Reserve Chair Jerome Powell expressed concerns about the labor market, following major downward revisions to job growth data. But is the US Employment picture as bleak as the Fed sees it? Markets get a clearer view on Friday when September's jobs report is released. The data could have a significant impact on the Ced's actions in the coming months as they try to navigate what Powell calls a “very difficult policy environment.” Kenny Polcari, the Chief Market Strategist at Slatestone Wealth, joins FOX Business' Lydia Hu to discuss his expectations for Friday's highly anticipated jobs report, what he expects from the Fed in the coming months, and how much Wall Street is worried about a potential government shutdown. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Die Darmreinigung ist ein essenzieller Bestandteil der Vorbereitung auf eine Kontrollkoloskopie bei Morbus Crohn und Colitis ulcerosa. Eine unzureichende Reinigung kann die Beurteilung der Darmschleimhaut erschweren und im schlimmsten Fall eine Wiederholung der Untersuchung erforderlich machen. Doch die Vorbereitung ist für viele Betroffene herausfordernd – sowohl körperlich als auch mental. In unserer aktuellen DarmTalk-Episode sprechen wir mit der diplomierten CED-Nurse Tobias Mooslechner, welcher über langjährige Erfahrung in der Endoskopie verfügt. Er begleitet Patient:innen täglich durch diesen Prozess. Freut euch auf wertvolle Einblicke, praxisnahe Tipps und Antworten auf die häufigsten Fragen rund um die Darmreinigung - jetzt reinhören!

Stan, Kim, Ced, and our writer Ranel react to comments and DMs from our listeners in this special mailbag episode! Hosted on Acast. See acast.com/privacy for more information.

La sostenibilidad del parque, la IA, el recambio y el VO como elementos clave para la rentabilidad protagonizan IBIS Iberia 2025 - 530 profesionales asisten a la tercera edición de un evento que reúne a los protagonistas del negocio de la posventa de automoción - IBIS Iberia se consolida como foro de referencia para el sector en España y Portugal CESVIMAP e IBIS Worldwide han celebrado los días 15 y 16 de septiembre de 2025 la tercera edición de IBIS Iberia, la conferencia internacional que reúne a los protagonistas del negocio de la reparación de automóviles en el mercado ibérico. Bajo el lema “Dando forma al futuro: liderazgo desde la colaboración”, IBIS Iberia 2025 ha sido foro de reflexión y avance, abordando los grandes retos que enfrenta el sector: la rentabilidad y la eficiencia, la sostenibilidad, la irrupción de la inteligencia artificial, el vehículo de ocasión y el papel del recambio. Tras dos ediciones récord, IBIS Iberia ha regresado al Centro de Congresos Lienzo Norte de Ávila con una agenda repleta de conocimiento, liderazgo intelectual y debates de vanguardia. CESVIMAP, el centro tecnológico y de innovación de MAPFRE, e IBIS, proveedor de conferencias sobre el mercado de reparación a nivel mundial, apuestan por la transformación y la colaboración como motores de éxito. La jornada IBIS Iberia 2025 planteó seis sesiones temáticas, que abordaron las principales preocupaciones y oportunidades del sector: 1. Transformación del ecosistema aseguradora-taller-recambios El seguro es un pilar en la actividad del taller. Se analizaron las tendencias del ramo en España y Portugal, la relación entre aseguradoras y proveedores y el impacto de las tecnologías en los costes de reparación. Participaron Pablo Jiménez Villa (ICEA), Francisco Javier Cobos (MAPFRE), Luis Ursúa (CETRAA), Rodrigo Ferreira da Silva (ARAN) y Carlos Martín (ANCERA). En cifras de ICEA, la situación del mercado automovilístico ha mejorado respecto a años anteriores, abriéndose camino el vehículo electrificado. Si bien España está en el top 5 de la UE en 2024 en matriculaciones, con un 8,1% (cifras globales), en turismos, aun siendo positiva la cuota de matriculación, está por debajo de la media de la UE. 2. Sostenibilidad y excelencia operativa en los talleres La sostenibilidad se convierte en una palanca de rentabilidad. Se abordaron prácticas como el uso de recambio eco, la eficiencia energética y la necesidad de adquirir formación en procesos sostenibles. Intervinieron José Luis Gata (Solera), Gonzalo Pinto (Desguaces El Choque), Arantxa Hernando (ARVAL), Vicente Loustao (Stellantis&You) y Francisco Villacañas (3M). En su ponencia, Solera desveló la previsión del parque de automóviles a 2035, con apuntes significativos: - Menos del 8% del parque tiene una connotación sostenible (phev, hev, gas…). - Los coches de más de 15 años triplican a los jóvenes y, en 2035, la mitad del parque tendrá más de 15 años. De hecho, los vehículos van a desguace con 21 años, 5 más que hace una década. - La facturación de los recambios crecerá un 47% en 10 años. Actualmente, el 5% del mercado del recambio es eco, que puede ser aplicable al 20% de las reparaciones (con un coste medio de este recambio inferior, en un 55% al OEM). En este sentido, posteriormente en la mesa de debate se compartieron los beneficios que puede aportan los distintos tipos de recambios, con los que se podría reparar gran parte de un parque de automóviles envejecido y facilitar un servicio 360 al cliente. Se postula como herramienta clave para la rentabilidad para el taller. También se abordó en el debate la necesidad de formación específica para afrontar el Smart repair, que requiere procesos y medios específicos que den una respuesta rápida y de calidad al cliente. Y se adelantó la certificación de estos procesos como el próximo gran reto. En materia de sostenibilidad, ésta pasa, en primer lugar, por la rentabilidad del taller, por lo que es preciso apostar por procesos eficientes y por la eficiencia operativa. 3. Nuevos modelos de uso del vehículo y del negocio posventa España es el país con mayor número de empresas de suscripción, posicionándose como líder europeo. El modelo de suscripción y el “mobility as a service” abren nuevas oportunidades para el taller. En este contexto, surgen nuevos programas de garantías y soluciones aseguradoras específicas, así como programas de servicio, mantenimiento y reparación adaptados. Participaron José Martín Castro (AER), Gerardo Bermejo (Europcar), José Ignacio Moya (FACONAUTO), Juan Manuel Rubio (Mondo Car) y Carlos Fernández Ramos (Enterprise Mobility) Según informa AER, España lidera en Europa la intención de abandonar el coche en propiedad. De hecho, ya el 14% de los hogares españoles han renunciado a coche o motocicleta en propiedad. El modelo de suscripción de vehículos es uno de los servicios de movilidad más activos actualmente, sobre todo en menores de 36 años de entornos urbanos. En la mesa de debate se presenta el ejemplo de Mondocar, la única plataforma creada por concesionarios para concesionarios. Su aparición contribuye al rejuvenecimiento del parque de vehículos y promueve la suscripción a vehículos híbridos y eléctricos. Sus clientes buscan movilidad sin ataduras ni cuotas a través de un servicio 100% digital. Europcar, empresa de movilidad per se, desde su creación hace 75 años, comparte con el auditorio las líneas básicas de un negocio nacido para hacer la vida más fácil a todos los participantes de este sector. Europcar se enfoca hacia la solución, ofreciendo desde alquileres tradicionales hasta períodos de larga duración. Enterprise apuesta por ayudar al taller con fórmulas rentables y sostenibles. Para Enterprise, la movilidad es una experiencia en la que hay gustos para todos, y las nuevas opciones multiplican las experiencias de movilidad. Que haya nuevas opciones, afirman, nos animan a innovar, porque los clientes están pidiendo cosas nuevas. Faconauto apuesta por aprovechar este nuevo ecosistema con diversos usos del vehículo para alargar y afianzar la relación del concesionario con el cliente. El valor de la posventa es clave: actualmente, el combo posventa + recambios, siendo el 16% de la facturación, supone el 47% de los beneficios del taller. 4. El vehículo usado como motor de crecimiento del aftermarket El V.O. se consolida como un negocio estratégico, con previsiones de más de 2,2 millones de unidades en 2025. Se debatió su impacto en concesionarios, talleres y fabricantes. Las operaciones de acondicionamiento y remarketing llegarán a representar un volumen de negocio significativo, pudiendo convertirse en un negocio lucrativo. Intervinieron Jaime Barea (GANVAM), Fernando Rodríguez (OcasiónPlus), José Antonio Baeza (Renault Retail Group) y Marcel Blanes (Adevinta). En su exposición, Barea puso el foco en la profesionalización del sector del reacondicionamiento y en la necesidad de invertir en este negocio para atraer al particular. Para Fernando Rodríguez, las claves del éxito en este negocio son la confianza y la transparencia. Como para José Antonio Baeza, que entiende que la relación con el cliente en posventa es clave, enfocando sus esfuerzos a fidelizar al cliente. En referencia al particular que compra V.O., Blanes traslada al auditorio datos reales de las tendencias del usuario. Si bien es cierto que busca vehículos con menos de 5 años de antigüedad y, preferentemente, híbridos o eléctricos, la realidad conduce a vehículos diésel de más de 10 años. También la intención del particular es comprar a profesional, aunque luego la realidad sea otra. 5. La inteligencia artificial como motor de cambio en el sector de la posventa y la reparación La IA ya transforma la reparación de siniestros. Se presentaron casos reales de automatización de procesos y soluciones de peritación inteligente. Intervinieron Ramón Antelo (Capgemini), Andrés Morote (Assured Europe), Jaime Silvela (Solera España), Diego Bodas (MAPFRE) y Lucía Bonilla (Bonilla Motor). En esta sesión se planteó la aplicación de IA como palanca para mejorar la experiencia del cliente e incrementar la eficiencia del taller. Destacando que la IA ha llegado para acompañar, siendo el aporte humano fundamental. 6. El recambio como pilar económico clave para los talleres El recambio es clave para la rentabilidad del taller. La cadena de la distribución se está concentrando y de su estrategia y servicios adicionales a la entrega del recambio dependerán cuestiones como la contención o reducción de costes para el taller, la optimización de tiempos o la eficiencia del proceso productivo. Participaron Fernando López (GiPA), Joan Solans (VW Group), Juan Carlos Martín Rivas (AD Parts), Nines García de la Fuente (GAUIb) y Fernando Montes (Solvd). En los mensajes objeto de debate fueron protagonistas los conceptos ‘precio' y ‘rentabilidad', que ponen en duda la sostenibilidad del modelo actual, estableciendo una comparación del negocio nacional con el europeo. Tanta importancia tiene el recambio para el taller que, sin el negocio que genera, los talleres tendrían dificultades para su continuidad. El evento IBIS Iberia 2025 se inició con una recepción de bienvenida el 15 de septiembre en Sofraga Palacio. Las conferencias se desarrollaron el 16 de septiembre en el Centro de Congresos Lienzo Norte, Ávila. IBIS IBERIA 2025 ha contado con el apoyo de destacados patrocinadores: • Platinum partners: 3M, Axalta Coating Systems, MAPFRE, Solera España y Repairify Europe. • Gold partners: Ad Parts, AkzoNobel, Carglass, CED, DAT Ibérica, Entegral, Fondomóvil, GT Motive, Phira y Sinnek. • Silver partners: Capgemini, Geimex, Indasa, Lechler, Roberlo y Top One/Colad/Finixa Sobre CESVIMAP CESVIMAP es el centro tecnológico de MAPFRE y protagonista en la transición hacia una movilidad sostenible, digital y conectada. Lo construyen diariamente más de un centenar de investigadores en unas instalaciones tecnológicas punteras, en las que se han ensayado más de 800 vehículos en la zona de crash test y se han superado los 700 proyectos de investigación. CESVIMAP también es un centro tecnológico de referencia global para el diseño, aseguramiento, uso, mantenimiento, reparación y reciclado de vehículos. CESVIMAP colabora con fabricantes de vehículos, concesionarios, talleres de reparación, compañías de renting, de car sharing, importadores, distribuidores y proveedores de automoción y Cuerpos y Fuerzas de Seguridad del Estado, entre otros actores, a los que facilita una formación integral. Además, a través de CESVIrecambios, ya se han superado los 53.000 vehículos descontaminados, poniendo de nuevo en el mercado y dando una segunda vida útil a más de un millón y medio de piezas. Sobre IBIS Worldwid Desde 2001, el Simposio Internacional de la Industria de Talleres (IBIS) ha creado un espacio para el diálogo global en el mercado de la reparación de colisiones, ofreciendo perspectiva, alineación y conexión en todos los niveles del sector. Con cada agenda, IBIS mantiene el foco en el futuro — ayudando a los participantes a navegar la complejidad, afinar su visión y conectar de forma significativa con otros agentes del cambio. IBIS fue fundado en 2001 por los propietarios de la revista británica Bodyshop, Christopher Mann y David Young. La primera conferencia reunió a 120 delegados de 12 países en el Celtic Manor Resort, en Gales. Desde entonces, IBIS ha evolucionado hasta convertirse en un programa global de eventos, con la Cumbre Global anual acogiendo a más de 350 delegados de todo el mundo.

What's the real cost of outdated systems and failed tech rollouts in transportation? Tune in to YMX Logistics' CED, Matt Yearling, to discuss systemizing yard management and operations, why half of the solutions implemented in this space fail to deliver ROI, and the explanation behind 90% of facilities still run yards without proper technology! We also cover the business opportunities in this market, how it creates an outsized impact across the entire supply chain, how companies like YMX Logistics are changing the game with a best-of-breed, 4PL approach that bridges the gap between transportation and warehousing, and the financial benefits of professional yard management!   Connect with Matt Website: https://ymxlogistics.com/  Email: myearling@ymxlogistics.com   About Matt Yearling Matt Yearling, CED of YMX Logistics, is changing the game of warehouse yard operations. For decades, the warehouse yard has been a logistical blind spot—riddled with inefficiency, paper logs, and radio chatter. Matt Yearling is bringing a holistic approach to yard management through optimization and orchestration, turning the yard into a strategic asset.  For one major grocery retailer, YMX helped the company transition from a reactive service model to a proactive, data-driven strategy, improving performance, reducing costs, and creating safer and more efficient yard and DC operations. The transformation was achieved by implementing YMX's proprietary yard operating system, YMX OS. YMX OS combines operational expertise with technology enablement, including real-time visibility, standardized processes, and a performance-based framework delivering the highest level of service and optimized yard operations for both the retailer and its third-party providers.  

In dieser Folge von „Ich und mein Crohn“ spreche ich über etwas, das wir alle kennen: diese Standardfrage „Wie geht's dir?“ und die noch standardisiertere Antwort „Gut“. Aber was passiert eigentlich, wenn wir nicht ehrlich sind? Wenn wir uns hinter Floskeln verstecken, obwohl es uns mies geht? Ich erzähle dir von meinen eigenen Erfahrungen, von der Zeit vor meiner Diagnose bis heute und warum unehrliche Kommunikation nicht nur Stress im Kopf macht, sondern auch den Körper belastet. Gleichzeitig zeige ich dir, wie befreiend es sein kann, einfach zu sagen, wie es dir wirklich geht. Diese Episode ist ein kleiner Stupser, mal genau hinzuschauen: Wo baust du Fassaden auf, die dich nur Kraft kosten? Und wie kannst du anfangen, ehrlicher mit dir selbst und mit anderen zu sein? Hör rein, wenn du wissen willst, warum Ehrlichkeit in der Kommunikation im Alltag mit CED mehr Leichtigkeit, weniger Druck und echte Stärke bringen kann. 0:00 Ehrliche Kommunikation bei CED: Warum sie so wichtig ist 0:35 Mein Meilenstein: 1000 YouTube-Abos & Dank an dich 1:58 Die Frage: Wann hast du zuletzt ehrlich geantwortet? 3:16 Meine Geschichte: Fassade statt Wahrheit 6:30 Was Unehrlichkeit mit Körper & Psyche macht 10:43 Der Weg raus: Ehrlich kommunizieren, auch im Alltag 18:03 Doppelleben vermeiden: So bleibst du stabil 20:07 Trainiere Ehrlichkeit in guten Zeiten 21:28 Dein Impuls: Fang jetzt an & bleib schubfrei

Chronisch-entzündliche Darmerkrankungen wie Morbus Crohn und Colitis ulcerosa sind komplex – sie betreffen nicht nur den Körper, sondern auch Psyche und Alltag der Betroffenen. Genau deshalb ist eine interdisziplinäre Betreuung so entscheidend. In dieser Folge von spricht Eva Maria Tappe mit Prof. Dr. med. Irina Blumenstein, Oberärztin an der Goethe-Universität Frankfurt und Leiterin der CED-Ambulanz, sowie mit Christian Hirschmann, der als Patient seine Perspektive teilt. Wir sprechen darüber, warum CED-Patient:innen von interdisziplinären Teams profitieren, welche Herausforderungen in der Zusammenarbeit zwischen Ärzt:innen, Therapeut:innen und Patient:innen bestehen, und wie ganzheitliche Betreuung medizinisch wie menschlich einen Unterschied macht. Außerdem gibt Christian Einblicke in seine persönlichen Erfahrungen: Wie fühlt es sich an? Welche Unterstützung war für ihn besonders wertvoll? Eine Folge für alle, die verstehen wollen, warum Teamarbeit in der Medizin kein Luxus, sondern Notwendigkeit ist – und wie sie die Versorgung von Menschen mit CED verbessern kann. Wir freuen uns über Feedback & Fragen. Viel Spaß beim Zuhören! Für Fragen, Feedback und Anregungen schaut gern auf www.chronisch-gluecklich.de vorbei, schreibt uns direkt an unter podcast@chronisch-gluecklich.de oder besucht uns bei Instagram https://www.instagram.com/chronisch_gluecklich/?hl=de Bitte beachtet: Unser Informationsaustausch und unsere individuelle Beratung dienen dazu, gesundheitliche und gesundheitsrechtliche Inhalte zu vermitteln, Zusammenhänge zu erläutern und Möglichkeiten aufzeigen. Die Informationen und Beratungen ersetzen keinen Arztbesuch! Bitte unbedingt beachten, dass alle hier besprochenen Informationen einen Erfahrungsaustausch darstellen. Dieses Interview kann in keinem Fall einen Austausch mit deinem Therapieteam ersetzen.

CBS Austin Sports director Bob Ballou drops in on the On Second Thought podcast with Cedric Golden and Kirk Bohls to discuss the Ohio State fallout and give a behind-the-scenes view of The Stampede, his new podcast with Longhorn legends Vince Young and Mack Brown. Ced and Kirk also break down the top-25 matchup between Michigan and Oklahoma and preview the upcoming NFL season which starts Thursday with the embattled Dallas Cowboys visiting the defending Super Bowl champion Philadelphia Eagles. Learn more about your ad choices. Visit megaphone.fm/adchoices

Chronische Entzündungen, darunter Darmerkrankungen wie Morbus Crohn oder Colitis ulcerosa verändern das Leben – oft still, aber massiv. Wenn der Bauch zur Baustelle wird, gerät der Alltag aus dem Gleichgewicht. Doch neben medizinischer Behandlung und Ernährung gibt es noch eine oft unterschätzte Ressource, die unterstützen kann: gezielte Bewegung. In der neuen Podcast-Folge sprechen wir mit Physiotherapeutin Anna-Sophie Forstner über den Einfluss von Bewegung auf den entzündeten Körper. Sie erklärt, wie moderate Aktivität nicht nur Muskeln stärkt, sondern auch auf das Immunsystem, die Verdauung und das sogenannte „Bauchhirn“ wirkt. Dabei geht es nicht um Leistung, sondern um bewusste, individuell abgestimmte Übungen – gerade in sensiblen Phasen der Erkrankung. Welche Bewegungsformen eignen sich in stabilen Zeiten? Was ist während eines Schubs zu beachten? Und warum kann Bewegung sogar helfen, Verspannungen und Schonhaltungen entgegenzuwirken? Die neue Podcast-Folge gibt Einblicke in eine ganzheitliche Sicht auf CED – und zeigt, wie Bewegung gezielt Entlastung bringen kann. Bitte nehmt bei gesundheitlichen Problemen immer auch individuelle Beratungen bei Ärzt:innen, Diplomierten Gesundheits- und Krankenpflegepersonen und Therapeut:innen in Anspruch. Unsere Podcastfolgen sollen euch einen guten Impuls für eure Gesundheit geben, ersetzen aber nie eine individuelle, persönliche medizinische Betreuung und Behandlung! Ihr habt Lust auf mehr Inspirationen für ein glückliches Leben? Dann schaut auch gerne auf unserer Webseite www.praxisentero.at vorbei – dort findet ihr zahlreiche kostenlose Beiträge in unserer Mediathek und unserem Magazin! Wenn ihr Fragen zu unseren Angeboten oder Anregungen für kommende #wohlfühlundgesundheitsratgeber Podcast-Themen habt, könnt ihr euch auch gerne unter office@praxisentero.at bei uns melden. Wir freuen uns auf euch!

Eric, Jeff, Styles, Sheek and Jadakiss got together in Yonkers to break down the 2004 American road comedy film starring Cedric the Entertainer, Vanessa Williams, Bow Wow, Gabby Soleil, Shannon Elizabeth, Solange Knowles and Steve Harvey. In one of our funniest episodes ever, we discussed family trips we all took as kids, family reunions, cookouts, where our last names came from, who'd win in a fist fight between Steve and Ced, the craziest modifications we've done to our cars, what defines a road trip movie and much more!!! PLUS: an all new What's Sheek Mad About?!!! Hosted on Acast. See acast.com/privacy for more information.

Join Chef Ced and Lisa the Foodie as they discuss the reasons why a grocery store does or doesn't make the cut. Lisa also talks about tasting Gyros for the first time with her family. Chef Ced discusses his feelings about certain social media influencers, if that's what Josh and his mom consider themselves.

Warum du mit CED deine Grenzen überschreiten musst – sonst übernimmt die Angst. Nach einer langen Podcast-Pause bin ich zurück – und ich starte direkt mit einem Thema, das mein ganzes Leben nach dem Darmriss geprägt hat: Grenzen überschreiten. In dieser Folge spreche ich darüber:

Find out how FIS is staying on the cutting edge of technology while serving clients and communities.   FIS processes more than 10% of the global economy and handles $16 trillion in assets annually. How does the company simultaneously safeguard data, pursue innovation, and serve its communities?   Join David Young and guest Stephanie Ferris, CEO and president of FIS, to learn about Ferris' journey to the corner office, three ways Ferris and FIS are exploring generative AI, and how the company supports communities across 64 countries. The Leadership in Challenging Times discussions feature timely and insightful discussions with the outstanding CEOs who are recipients of CED's Distinguished Leadership Awards. Business leader honorees discuss the unprecedented challenges facing the nation and how they are helping chart a path forward for both their companies and communities in which they operate.   For more from The Conference Board: ·       CED Announces Recipients of Its 2025 Distinguished Leadership Awards ·       CED Distinguished Leadership Awards Celebration ·       What Should Corporate Philanthropy Look Like in 2025?

Thomas Hobbes es el filósofo político favorito de Christian Sobrino y entre febrero y mayo del 2025, Sobrino ofreció un seminario gratuito sobre el Leviatán (la obra maestra de Hobbes) titulado Soberanía sobre los Orgullosos a través del Centro para el Estudio de la Democracia del Dr. Manuel S. Almeida. Las once sesiones se publicarán en audio en el feed de La Trinchera los lunes. Si desean ver los vídeos de las reuniones, pueden hacerlo en YouTube en la página del CED en el siguiente enlace: @CentroEstudioDemocracia.----

Learn how Clorox invested in technological innovation so it could continue delivering superior consumer experiences.  Almost 90% of US households use Clorox products, giving the company a unique window into consumer behavior during this uncertain time. How has The Clorox Company used innovation and technology to reinvent itself and respond to shifting consumer needs?  Join David Young and guest Linda Rendle, CEO and chair of Clorox, to find out about her family background in CPG, the company's ongoing digital transformation, and the state of the consumer today.  The Leadership in Challenging Times discussions feature timely and insightful discussions with the outstanding CEOs who are recipients of CED's Distinguished Leadership Awards. Business leader honorees discuss the unprecedented challenges facing the nation and how they are helping chart a path forward for both their companies and communities in which they operate.   For more from The Conference Board:  CED Announces Recipients of Its 2025 Distinguished Leadership Awards  CED Distinguished Leadership Awards Celebration  US Consumer Confidence 

Thomas Hobbes es el filósofo político favorito de Christian Sobrino y entre febrero y mayo del 2025, Sobrino ofreció un seminario gratuito sobre el Leviatán (la obra maestra de Hobbes) titulado Soberanía sobre los Orgullosos a través del Centro para el Estudio de la Democracia del Dr. Manuel S. Almeida. Las once sesiones se publicarán en audio en el feed de La Trinchera los lunes. Si desean ver los vídeos de las reuniones, pueden hacerlo en YouTube en la página del CED en el siguiente enlace: @CentroEstudioDemocracia.----

Thomas Hobbes es el filósofo político favorito de Christian Sobrino y entre febrero y mayo del 2025, Sobrino ofreció un seminario gratuito sobre el Leviatán (la obra maestra de Hobbes) titulado Soberanía sobre los Orgullosos a través del Centro para el Estudio de la Democracia del Dr. Manuel S. Almeida. Las once sesiones se publicarán en audio en el feed de La Trinchera los lunes. Si desean ver los vídeos de las reuniones, pueden hacerlo en YouTube en la página del CED en el siguiente enlace: @CentroEstudioDemocracia.----

Learn why culture and constant innovation are essential to developing life-changing biopharma treatments. Vertex Pharmaceuticals focuses on “serial innovation” because this year's billion-dollar blockbuster drug could become next year's failure. How does this biopharmaceutical company recruit and onboard employees, and how does it create a culture where the best ideas thrive? Join David Young and guest Reshma Kewalramani, president and CEO at Vertex Pharmaceuticals and a recipient of the 2025 CED Distinguished Leadership Awards. You'll learn about Kewalramani's career path, what the company learned from developing a hepatitis C drug, and why the company welcomes in students to experiment alongside employees. The Leadership in Challenging Times discussions feature timely and insightful discussions with the outstanding CEOs who are recipients of CED's Distinguished Leadership Awards. Business leader honorees discuss the unprecedented challenges facing the nation and how they are helping chart a path forward for both their companies and communities in which they operate. For more from The Conference Board: ·         CED Announces Recipients of Its 2025 Distinguished Leadership Awards ·         CED Distinguished Leadership Awards Celebration ·         Women in STEM: Closing the Gender Gap

Thomas Hobbes es el filósofo político favorito de Christian Sobrino y entre febrero y mayo del 2025, Sobrino ofreció un seminario gratuito sobre el Leviatán (la obra maestra de Hobbes) titulado Soberanía sobre los Orgullosos a través del Centro para el Estudio de la Democracia del Dr. Manuel S. Almeida. Las once sesiones se publicarán en audio en el feed de La Trinchera los lunes. Si desean ver los vídeos de las reuniones, pueden hacerlo en YouTube en la página del CED en el siguiente enlace: @CentroEstudioDemocracia.----

Thomas Hobbes es el filósofo político favorito de Christian Sobrino y entre febrero y mayo del 2025, Sobrino ofreció un seminario gratuito sobre el Leviatán (la obra maestra de Hobbes) titulado Soberanía sobre los Orgullosos a través del Centro para el Estudio de la Democracia del Dr. Manuel S. Almeida. Las once sesiones se publicarán en audio en el feed de La Trinchera los lunes. Si desean ver los vídeos de las reuniones, pueden hacerlo en YouTube en la página del CED en el siguiente enlace: @CentroEstudioDemocracia.----

Learn how General Mills takes strategy from concept into reality—all while standing for good.     General Mills CEO Jeff Harmening had the company pick 10 areas where it would “stand for good” and deliver meaningful impact, including regenerative agriculture and packaging reductions. What can other businesses learn about executing a strategy that delivers sustainable results for shareholders, customers, and the planet?     Join David Young and guest Jeff Harmening, CEO of General Mills, to find out why General Mills builds purpose into its strategy, how the company maintains its culture, and why Harmening didn't always dream of being a CEO.    The Leadership in Challenging Times discussions feature timely and insightful discussions with the outstanding CEOs who are recipients of CED's Distinguished Leadership Awards. Business leader honorees discuss the unprecedented challenges facing the nation and how they are helping chart a path forward for both their companies and communities in which they operate.       00:32 Meet Jeff Harmening: CEO of General Mills 01:18 Jeff's Career Journey and Leadership Values 03:48 The Accelerate Strategy: Driving Sustainable Growth 06:07 Standing for Good: General Mills' Purpose and Values 08:50 A Legacy of Philanthropy and Community Impact 10:10 Focusing on Key Initiatives: From 70 to 10 10:48 Regenerative Agriculture and Environmental Goals 12:39 Building a Culture of Belonging at General Mills 15:54 Conclusion and Final Thoughts   For more from The Conference Board:  CED Announces Recipients of Its 2025 Distinguished Leadership Awards  CED Distinguished Leadership Awards Celebration  Purpose Shapes Corporate Reputation More Than Innovation Does 

 In today's episode, I chat to the wonderful Kristin Revere (MM, CED, NCS) a doula and author of Supported: Your Guide to Birth and Baby. A book I wish I'd had on my own journey 12 years ago. Kristin takes us through her own powerful story of pregnancy and birth — including the moment she trusted her gut and changed both her provider and her hospital to ensure she felt truly seen and heard.We explore the challenges she faced, from unexpected complications like pre-eclampsia to last-minute shifts in her birth plan, and how she navigated it all by staying connected to her intuition and the knowledge she'd built along the way. Her story is a reminder of just how important it is to stay flexible, stay informed, and to surround yourself with people who respect your choices.Whether you're expecting your first baby or simply interested in the birth world, this episode offers both inspiration and practical insight — especially for those wanting to understand how to advocate for themselves in medical settings.      Connect with Kirstin on:

Die Therapie des Morbus Crohn richtet sich nach dem Schweregrad der Erkrankung. Wie man diesen im ärztlichen Alltag feststellt, welche Therapie-Optionen es bei einem schweren Schub gibt und welche Rolle Lebensstilfaktoren und Genetik bei der Entstehung und Entwicklung eines M. Crohn spielen – darüber haben wir mit Prof. Andreas Stallmach, einem der Koordinatoren der S3-Leitlinie zu Morbus Crohn, gesprochen.

Thomas Hobbes es el filósofo político favorito de Christian Sobrino y entre febrero y mayo del 2025, Sobrino ofreció un seminario gratuito sobre el Leviatán (la obra maestra de Hobbes) titulado Soberanía sobre los Orgullosos a través del Centro para el Estudio de la Democracia del Dr. Manuel S. Almeida. Las once sesiones se publicarán en audio en el feed de La Trinchera los lunes. Si desean ver los vídeos de las reuniones, pueden hacerlo en YouTube en la página del CED en el siguiente enlace: @CentroEstudioDemocracia.----

Don't let Oria Alexander fool you. She's not just a singer. Her debut CED, titled “Yellow Paint,” was completed before her 17th birthday and featured 13 original songs.She recorded her first album singing a duet with legendary soul rocker, Southside Johnny, and had written and sung her own compositions all around the world. . .in addition to being an accomplished flutist. But she still sang with me! www.oriamusic.net

¿Qué significa para el Centro de Estudios para el Desarrollo (CED) que el ex presidente Luis Lacalle Pou se haya sumado a su equipo? ¿En qué consiste el Programa de Alta Dirección de la Gestión Pública, que dirige Lacalle Pou, y que comenzó a dictarse con la participación de varios exministros en el plantel docente? Conversamos En Perspectiva con el economista Hernán Bonilla, presidente del CED, sobre estos temas y su nuevo libro Adam Smith: una introducción, que nos remonta a la Ilustración Escocesa.

Thomas Hobbes es el filósofo político favorito de Christian Sobrino y entre febrero y mayo del 2025, Sobrino ofreció un seminario gratuito sobre el Leviatán (la obra maestra de Hobbes) titulado Soberanía sobre los Orgullosos a través del Centro para el Estudio de la Democracia del Dr. Manuel S. Almeida. Las once sesiones se publicarán en audio en el feed de La Trinchera los lunes. Si desean ver los vídeos de las reuniones, pueden hacerlo en YouTube en la página del CED en el siguiente enlace: @CentroEstudioDemocracia.----

Science and technology will bring more change to health care over the next decade than we saw in the past century, says Joaquin Duato, Chairman and CEO, Johnson & Johnson, and a 2025 Distinguished Leadership Award honoree. What drives his confidence, and how is the company creating this future?     Join David K. Young and Duato to discover what he has learned in 36 years at J&J, how the company innovates in science and technology, and how the company supports employees and communities.  This Leadership in Challenging Times discussion is featured as a C-Suite Perspectives podcast and a special CED Policy Watch Webcast. Leadership in Challenging Times features timely and insightful discussions with the outstanding CEOs who are recipients of CED's Distinguished Leadership Awards. Business leader honorees discuss the unprecedented challenges facing the nation and how they are helping chart a path forward for both their companies and communities in which they operate.      (04:08) Leadership Philosophy and Company Culture (06:48) Secrets to Johnson & Johnson's Longevity (09:11) Transforming Health Care with Science and Technology (12:09) Investment Strategies in Health Care Innovation (15:53) Advancing Technology and AI at Johnson & Johnson (18:38) Addressing the Global Health Care Workforce Shortfall (19:41) Ensuring Access to Health Care for Underserved Communities   For more from The Conference Board:  CED Announces Recipients of Its 2025 Distinguished Leadership Awards  CED Distinguished Leadership Awards Celebration 

Thomas Hobbes es el filósofo político favorito de Christian Sobrino y entre febrero y mayo del 2025, Sobrino ofreció un seminario gratuito sobre el Leviatán (la obra maestra de Hobbes) titulado Soberanía sobre los Orgullosos a través del Centro para el Estudio de la Democracia del Dr. Manuel S. Almeida. Las once sesiones se publicarán en audio en el feed de La Trinchera los lunes. Si desean ver los vídeos de las reuniones, pueden hacerlo en YouTube en la página del CED en el siguiente enlace: @CentroEstudioDemocracia.----

Editors - Cedric Nairn-Smith, Melissa Lawson Cheung and Stephanie Filo ACE DAREDEVIL BORN AGAIN editors Cedric, Melissa and Stephanie open up about their experiences and the unique challenges they faced while working to bring back Matt Murdock and his crime fighting alter ego under the Marvel Television banner.  Assembling this team of super editors happened through various means.  Stephanie credits her introduction to Marvel through a mentor, while Melissa explains how her work in Marvel's SECRET INVASION showcased her skills in creating grounded action sequences, helping to streamline both budgets and timelines. MOON KNIGHT veteran Cedric, on the other hand, found his way to the series through fortuitous timing during a project lull. DAREDEVIL BORN AGAIN begins several years after the events of the Netflix-hosted DAREDEVIL (2015–2018) and a year after blind lawyer Matt Murdock stopped his activities as the masked vigilante Daredevil.  In the new series, Murdock continues his fight for justice as a lawyer while former crime boss Wilson Fisk is elected mayor of New York City, putting the pair on a collision course. CEDRIC NAIRN-SMITH In addition to his work on DAREDEVIL: BORN AGAIN, Cedric is known for his work as an editor on; MOON KNIGHT (2022), LISEY'S STORY (2021), THE BOYS (2019-2020) and BATES MOTEL (2015-2017). STEPHANIE FILO, ACE Stephanie Filo, ACE is a four-time Emmy, as well as Peabody and ACE Eddie Award-winning Film/TV Editor and activist based in Los Angeles, CA and Sierra Leone, West Africa. She serves on the board for Girls Empowerment Sierra Leone, a social impact and feminist-based organization for Sierra Leonean girls aged 11-16. She is one of the co-founders of End Ebola Now, and organization created in 2014 to spread accurate information and awareness about the Ebola Virus and its impact through artistic community activism. MELISSA LAWSON CHEUNG Prior to her work on DAREDEVIL: BORN AGAIN, Melissa's work could be seen in shows such as MR. ROBOT (2015) and OUTLANDER (2016-2017), as well as features like MILE 22 (2018). The Credits Visit ExtremeMusic for all your production audio needs Listen to Ced talk about THE BOYS and MOON KNIGHT Hear Stephanie discuss cutting A BLACK LADY SKETCH SHOW Check out what's new with Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Thomas Hobbes es el filósofo político favorito de Christian Sobrino y entre febrero y mayo del 2025, Sobrino ofreció un seminario gratuito sobre el Leviatán (la obra maestra de Hobbes) titulado Soberanía sobre los Orgullosos a través del Centro para el Estudio de la Democracia del Dr. Manuel S. Almeida. Las once sesiones se publicarán en audio en el feed de La Trinchera los lunes. Si desean ver los vídeos de las reuniones, pueden hacerlo en YouTube en la página del CED en el siguiente enlace: @CentroEstudioDemocracia.----

Cybersecurity has become top of mind for Fortune 500 companies, and yet attacks, breaches, and other incidents keep happening. Can companies really prevent cyber risks, and what approach should they be taking?  Join David Young and guest Jay Chaudhry, CEO, chairman, and founder of Zscaler, to find out the three lessons his parents taught him, why Zscaler has a customer obsession, and why zero trust architecture is critical for today's cyber approach.  This Leadership in Challenging Times discussion is featured as a C-Suite Perspectives podcast and a special CED Policy Watch Webcast. Leadership in Challenging Times features timely and insightful discussions with the outstanding CEOs who are recipients of CED's Distinguished Leadership Awards. Business leader honorees discuss the unprecedented challenges facing the nation and how they are helping chart a path forward for both their companies and communities in which they operate.     For more from The Conference Board:  CED Announces Recipients of Its 2025 Distinguished Leadership Awards  CED Distinguished Leadership Awards Celebration  CED Report on Securing Cyberspace 

Iubirea de plăcere este molipsitoare. Cedând acesteia, mintea aleargă de la un punct la altul, de fiecare dată căutând distracție. Ascultarea de Legea lui Dumnezeu contracarează această înclinație și construiește bariere împotriva lipsei de evlavie.Citește acest devoțional și multe alte meditații biblice pe https://devotionale.ro#devotionale #devotionaleaudio

Thomas Hobbes es el filósofo político favorito de Christian Sobrino y entre febrero y mayo del 2025, Sobrino ofreció un seminario gratuito sobre el Leviatán (la obra maestra de Hobbes) titulado Soberanía sobre los Orgullosos a través del Centro para el Estudio de la Democracia del Dr. Manuel S. Almeida. Las once sesiones se publicarán en audio en el feed de La Trinchera los lunes. Si desean ver los vídeos de las reuniones, pueden hacerlo en YouTube en la página del CED en el siguiente enlace: @CentroEstudioDemocracia.----

Thomas Hobbes es el filósofo político favorito de Christian Sobrino y entre febrero y mayo del 2025, Sobrino ofreció un seminario gratuito sobre el Leviatán (la obra maestra de Hobbes) titulado Soberanía sobre los Orgullosos a través del Centro para el Estudio de la Democracia del Dr. Manuel S. Almeida. Las once sesiones se publicarán en audio en el feed de La Trinchera los lunes. Si desean ver los vídeos de las reuniones, pueden hacerlo en YouTube en la página del CED en el siguiente enlace: @CentroEstudioDemocracia.----

Na fudbalu je u toku audicija (Radnički Kg, Novi Pazar). Liga bez briga jer Partizan je sigurno drugi, a ostali neka se poređaju......... Testiramo mlađariju, razmišljamo o treneru, strepimo pred letnji prelazni rok i kvalifikacije. Pobedili smo u Ljubljani prvi put posle fuzije Ced i Oli (i 0-6), pobedili smo i Megu. U petak kreće playoff ABA lige, što se da zaključiti i po aktivnostima na deponiji u kojoj obitavaju tabloidi, treš portali i kvazi insajderi. Neočekivanih 20+ minuta diskusije o Balši. Izzy Bonga je DPOY. Vili je ponovo izostao, ali smo zato u gostima imali ljubitelje Zweite iz kruga dvojke. PARTIZAN NIJE SAMO EVROLIGA! Studio Hrizantema: Lemmy, Gazza, Gogec, Trobi, crk + gosti Miloš i Lav sa Dorćola. Trajanje: 153 minuta ---------------------------------- Pokrenuli smo PATREON, pa ko želi sada može da časti za neko pivo, dodatne sadržaje i/ili tehničke popravke na podcastu: www.patreon.com/pfchisterical A ima i opcija za direktne donacije: paypal.me/partizanhisterical ---------------------------------- NOVO!!! HISTI RADIO MIX br. 88 https://youtube.com/playlist?list=PLwhKCZrlUHqhEi4l1QBntNggBVn0tqtF8&si=IZwwFyXUI7K5cIIa Twitter: www.twitter.com/pfchisterical Instagram: www.instagram.com/pfchisterical/ Youtube: www.youtube.com/c/PartizanHistericalPodcast podcast.rs/show/histerical/ NAPRED PARTIZAN! NAPOMENA: Ovo je "uradi sam" podkast u kome navijači Partizana razgovaraju o zbivanjima u svom voljenom klubu. Izneta mišljenja i stavovi su lični, kafanski, i ne predstavljaju stavove bilo koje navijačke grupe, frakcije, dela uprave, radne ili druge organizacije. Nismo insajderi, eksperti, sportski radnici. Apsolutna vernost, ne apsolutna istina. Trudimo se da jezik koji koristimo bude fin književni - možete ga čuti na svakom stadionu i u svakoj sportskoj hali. Cover foto: KKP Majstor zvuka: crk Realizacija: Slavko Tatić, gajtan, štap, kanap, Posebnjakovići & Histi

El expresidente de la República Luis Lacalle Pou fue presentado el jueves pasado como asesor del Centro de Estudios para el Desarrollo (CED), un think tank liberal con lazos con el Partido Nacional, que preside el economista Hernán Bonilla. En un texto difundido en redes sociales, el CED valora como “un honor” esta incorporación, de la que dice: “Jerarquizará el trabajo de nuestro think tank y sin dudas nos permitirá desarrollar nuestra misión con mayor eficacia”. Continúa el comunicado: “Para una organización dedicada al análisis y propuesta de políticas públicas, contar con quien fue el último responsable de las decisiones más relevantes en Uruguay en los últimos cinco años resulta un enorme privilegio”. Según agregó el CED, Lacalle Pou se enfocará en este nuevo rol en la formación de líderes para el sector público, tanto políticos como para la alta dirección de la gestión pública; también trabajará como asesor senior de investigaciones e informes elaborados por el CED; y se desempeñará como conferencista nacional e internacional sobre políticas públicas y desarrollo. “La visión de Luis Lacalle Pou y la del CED es coincidente respecto a la importancia de la libertad para el desarrollo de las personas y del país, tanto a nivel económico como social”, concluyó el texto. ¿Cómo observaron los tertulianos esta noticia, ahora que hay más información sobre qué rol tendrá el exmandatario en estos años? Y, al mismo tiempo, ¿cómo ven el lugar que están teniendo este tipo de instituciones, de think tanks, en la política uruguaya? La Tertulia de los Lunes con Miguel Brechner, Amira Fagúndez, Martín Moraes y Gloria Robaina.

Pitching to investors isn't just about having the next billion-dollar idea. It's about energy, authenticity, preparation—and knowing your numbers.Today's episode of Deal Closers comes to you from recorded live at CED's Venture Connect, where host Jason Gillikin sits down with two seasoned investors:Zakiya Alta Lee-Hill, Principal at Idea Fund PartnersNikin Shah, General Partner at Front Porch VenturesTogether, they share exactly what makes founders stand out in a pitch meeting—and what makes investors quickly say no. If you're gearing up to raise capital or sell your company, this is essential listening.You'll learn:Why VC money is like rocket fuel—and how it can blow up your business if you're not readyHow much energy is too much energy in a pitchWhy authenticity and self-awareness beat hype every timeWhat to say when you don't know the answerHow to prep for questions about your numbers, your tech, and your teamThe importance of targeting the right investors—and how to make it easy for them to help youTimestamps:00:00:03 – What VC dollars really mean for your company00:01:15 – First impressions and the importance of energy00:04:00 – Why excitement looks different for every founder00:07:51 – Know enough about every part of your business00:11:00 – Investors expect you to know your numbers00:13:56 – Is your market size actually realistic?00:17:09 – What problem are you solving, and why you?00:22:31 – Walk in saying, “I'm the company you're looking for”Connect with the Guests:Nikin Shah – Front Porch VenturesZakiya Alta Lee-Hill, Idea Fund PartnersDeal Closers is brought to you by WebsiteClosers.com and produced by Walk West. Hosted on Acast. See acast.com/privacy for more information.

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

Sai...Ced...it's all past tense now. Scott and Lindsay are back to break down last week's Episode 7 of Survivor 48. www.ChallengeManiacs.comwww.ChallengeMania.Livewww.ChallengeMania.Shop

durée : 00:04:31 - Le Billet politique - par : Jean Leymarie - Pour soutenir l'Ukraine, Emmanuel Macron réunit à Paris une "coalition de volontaires". Pour sa défense, l'Europe doit-elle s'unir ? Dans les années 1950, déjà, la Communauté européenne de défense (CED) déchirait la classe politique.

Would you make a deal with a demon? Now is your chance, because Duskmourn is here to offer you what every Magic player truly wants: POWER! This new set is chock full of powerful cards, and we'll show you the best of the best as we go over the top cards from Duskmourn for your 99. We'll guide you through all the hot new tech you'll want to snap up for your next deck. Instead of being a scared survivor, you can become the terrifying monster at the table! Come check it out. -------- Support the show and become a Patron! Be a part of our community, receive awesome rewards, and more! https://www.patreon.com/commandzone -------- GAME KNIGHTS LIVE - LAS VEGAS: Don't miss your favorite gameplay show on the Main Stage at MagicCon Las Vegas! Watch Jimmy, Josh, Becca Scott, and Mark Rosewater face off in an epic Commander battle for the championship trophy.  Tickets and badge info here: https://mcvegas.mtgfestivals.com/en-us/badges/buy-badges.html -------- ORGAIN: For delicious real nutrition, check out Orgain's 30 gram protein shakes. Support the show and get 20% off your order by using code COMMAND at: https://www.Orgain.com/COMMAND  LIQUID IV: Hydrate two times faster than water alone with Liquid IV! Get 20% off when you use code COMMAND at checkout at: https://www.LiquidIV.com  -------- CARD KINGDOM: The Command Zone is sponsored by Card Kingdom! If you want to receive your cards in one safe package and experience the best customer service, make sure to order your Magic cards, sealed product, accessories, and more at Card Kingdom: http://www.cardkingdom.com/command  ARCHIDEKT: Discover, build, catalog, and playtest on Archidekt, the deck-building website that makes it easy to brew brand new lists or manage your old favorites. Go to http://www.archidekt.com/commandzone to get started today!  ULTRAPRO: Huge thanks to UltraPro for sponsoring this episode! Be sure to check out their PRO GLOSS eclipse sleeves and super classy MYTHIC COLLECTION deck boxes. If you want to keep your cards protected and support the show, visit: https://ultrapro.com/command -------- Relevant Links: The Professor: Twitter: @TolarianCollege Brian Kibler: Twitter: @bmkibler Josh Murphy: Twitter: @alsonamedjosh Manson Leung: Twitter: @Mansonleung_ Rachel's Sidisi Deck: https://archidekt.com/decks/171880/sidisi_the_sultai_one Rachel's Disa Deck: https://archidekt.com/decks/8061094/disa_junds_em_out Let's play a game... of #MagicTheGathering: https://youtu.be/ab0ovGMZ1go Duskmourn w/ Jarvis Johnson & Ify Nwadiwe | Game Knights 73: https://www.youtube.com/watch?v=GLV798HGMKs How to Play GREEN w/ Brian Kibler | The Command Zone 606: https://www.youtube.com/watch?v=n-s47Bf93rU Clash of Creators w/ Ced from One More Mana | Extra Turns 41: https://youtu.be/_JYHys4QoQs?si=20XwTHyr4IQW3l6X -------- Follow us on TikTok: @thecommandzone Follow us on Instagram: @CommandCast Follow us on Twitter: @CommandCast @JoshLeeKwai @jfwong @wachelreeks Follow us on Facebook: https://www.facebook.com/commandcast/ Email us: commandzonecast@gmail.com -------- Commander Rules and Ban List: https://mtgcommander.net/ -------- Learn more about your ad choices. Visit podcastchoices.com/adchoices