Podcasts about corollas

Welcome to Puddles. Andrew and Brenna joke about everything, mostly their own relationship. In this episode, we cover weird traditions we do before leaving each other, Jamaican weed, gyrating and dancing, getting caught by parents smoking weed in high school, silent discos, car sex, Mango's babysitter, the news, and Corollas. Leave us a voicemail: https://www.speakpipe.com/Puddles Send us questions: puddleboyandpuddlegirl@gmail.com SUBSCRIBE! Puddles Youtube Feed: https://tinyurl.com/4u5mcxdt Puddles Podcast iTunes Audio Feed: https://tinyurl.com/4vanarmr Puddles Podcast Spotify Audio Feed: https://tinyurl.com/yyb8zc46 CHAPTERS 00:00 - Nikki Glaser saved the wedding 06:00 - Dancing party 09:30 - Weird traditions: draining it out 11:00 - Brenna's cycle 13:30 - Mango's babysitter 17:00 - Grandpa's xanax 22:00 - Jamaican weed 27:30 - Vacation Sex 29:00 - Car sex 32:00 - Top 3 cars to have sex in 39:00 - Snews 44:00 - Adopting 47:00 - Waterslides FOLLOW US: Puddles - https://www.instagram.com/puddlespodcast Andrew - https://www.instagram.com/andrewtcollin/ Brenna - https://www.instagram.com/brennaalexiss/ Melanie - https://www.instagram.com/melaniemeisner/ Theme song performed by: Ed Glaser Ending song written by: Andrew Collin Visuals and Graphics by: Melanie Meisner Produced by: Melanie Meisner

Shoot us a Text.It's a travel Tuesday as we head to Virginia for the Reynolds Retail Summit and then Florida for the NAMAD Conference. Today we're talking about the buzz our friends at Rohrman Toyota are making with creative marketing campaigns, why car insurance premiums keep going up and check in at Amplify 2024 with Kyle Mountsier and Reynolds CMO Greg Uland.AnnouncementNew Auto Collabs episode - Changing the Culture Through An Employee Stock Ownership Plan with Bethany Sobczak, Corporate HR Director at Fitzgerald Auto MallAutomotive Amplifiers Aug- NAMAD Aug - VeeCon -  Vincue Unleashed Sept - ATAE Comms NovShow Notes with links:Bob Rohrman Toyota in Lafayette, Indiana, is shaking up car sales with creative and fun promotions that attract customers and boost employee morale.Zac Kinch, Rohrman Toyota's GM, has created marketing campaigns for customers to engage in fun activities like dunk tanks, mechanical bull rides, and Plinko games for discounts and prizes.These events, like offering a $99 Corolla during Black Friday, lead to significant sales increases, with one event selling 34 vehicles in a day.The engaging atmosphere has created higher employee retention, doubling the average tenure of sales staff from 3.1 years to 6.6 years.Event videos are widely shared on social media, with some videos reaching over a million views“Buying a car shouldn't have to be miserable," says Kinch, emphasizing the positive impact on both staff and customers.Auto insurance rates have risen 15% in the first half of 2024 to average annual premium of $2,329, with predictions indicating a 22% total increase by year-end.Maryland holds the highest average rate at $3,400 annually, while New Hampshire is the lowest at $1,000. States like California, Missouri, and Minnesota could see increases this year exceeding 50%.Repair costs, particularly for ADAS-equipped vehicles, are a major driver, with repairs costing up to 38% more over the past five years.The rising rates are due to a combination of significant underwriting losses, increasing vehicle repair costs, and the growing impact of severe weather events. Additional factors like aging vehicles, legislative changes, higher theft rates, and economic pressures are further driving up premiums."As we experience tornadoes, hail, and flooding in places where they weren't necessarily a major threat before, the increased frequency and severity of these events will need to be considered in pricing," said Betsy Stella, VP of Carrier Management at Insurify.Kyle is already at Reynolds and Reynolds Amplify 2024 and is live with Reynolds CMO Greg Uland.Hosts: Paul J Daly and Kyle MountsierGet the Daily Push Back email at https://www.asotu.com/ JOIN the conversation on LinkedIn at: https://www.linkedin.com/company/asotu/ Read our most recent email at: https://www.asotu.com/media/push-back-email

I wasn't here last week because I was attending a funeral. A dear friend. 58 years old. Gut cancer. A reminder to us all- live life. Don't put things off. So, last week I thought I'd talk about the ferry debate and I thought that the issue would be over by now. But it's not. It rumbles on like the stubbed toe it is. Today, the Government receives a report that will outline some of the options going forward and what cancellation of the ferries will cost. This is not an insubstantial amount. Industry sources believe it's $200-$300 million dollars. Supporters of the Government say that's a bargain compared to spending billions on unnecessary rail infrastructure. And that answered a question I'd had all along. I've been confused at the continual assertion that the ferries were gold plated. They appear to be a very reasonable price, mostly because they were ordered during the Covid lull and the shipbuilders were grateful for the business. Yes they were bigger, and yes that means work on the wharves. But these wharves have remained unchanged for 50 years and needed an upgrade. Particularly the Kaiwharawhara port in Wellington. It's seismically vulnerable, so no matter what boats we eventually order, there will be a huge costs in earthquake proofing. There are no cheaper second hand options, otherwise known as the Corollas of the ferry world. No the reasons they are gold plated is because they are rail capable and National is no friend of railways. This is the party that sold the railways to Toll, who then asset stripped it to such an extent we bought it back for $1. They stopped the electrification of the Main Trunk line and stood in way of the CRL until they no longer could. They also gave way to the trucking lobby allowing trucks of more than 44 tonnes on our road. Killing rail freight and causing potholes that they're now spending $4 billion to fix. It's this sort of difference in opinion between Labour and National that is causing our paralysis in infrastructure, and this example is one of the worse. Meanwhile, I wonder if anyone has been investigating what the costs will be to convert these ferries into road ferries only. Because frankly, I can't see any better deal anytime soon. And time is of the essence. The Cook Strait crossing is part of our State Highway 1. Whether it's rail or trucks, tourists or cars, it is a major piece of our supply chain and to have allowed it to get into such disrepair and with no real solution in sight is a pox on both the National and Labour houses. LISTEN ABOVESee omnystudio.com/listener for privacy information.

Here's what Dustin Atwood and Sarah Myers cover this episode: Dustin has been working on suspension, batteries, and tires due to the recent cold weather. Dustin has also been working on used vehicles quite a bit. He talks about common repairs and what to look for. Honda is planning to fix an issue with its 2023 Honda HR-V SUVs that has prompted hundreds of consumer complaints about rear windows unexpectedly shattering. Toyota is urging the owners of 50,000 vehicles not to drive their cars due to an air bag issue that could cause "serious injury or death." The warning covers some 2003-2004 model year Corollas and Corolla Matrix cars, as well as RAV4 vehicles from the model years 2004-2005 that have a Takata air bag inflator. --- Send in a voice message: https://podcasters.spotify.com/pod/show/a1custom/message

Here's what Dustin Atwood and Sarah Myers cover this episode: Dustin has been working on suspension, batteries, and tires due to the recent cold weather. Dustin has also been working on used vehicles quite a bit. He talks about common repairs and what to look for. Honda is planning to fix an issue with its 2023 Honda HR-V SUVs that has prompted hundreds of consumer complaints about rear windows unexpectedly shattering. Toyota is urging the owners of 50,000 vehicles not to drive their cars due to an air bag issue that could cause "serious injury or death." The warning covers some 2003-2004 model year Corollas and Corolla Matrix cars, as well as RAV4 vehicles from the model years 2004-2005 that have a Takata air bag inflator. --- Send in a voice message: https://podcasters.spotify.com/pod/show/a1custom/message

Watch out for crime! Pray this New Year, blacks and whites! They're stealing Corolla catalytic converters, not just Prius! Friendly calls… The Hake Report, Tuesday, January 2, 2024 AD TIME STAMPS * (0:00:00) Start/Topics* (0:01:56) Hey, guys! Life w/o thinking (BOND tee)* (0:03:34) DAVID, FL: Clarifying Skynyrd, Possession* (0:06:09) DAVID: Shooting Paddock mall, Ocala* (0:10:42) DAVID: Black man vs N-word* (0:16:05) DAVID: JLP content, Ryan Sickler, Pico* (0:21:07) Smash and Grab, Santa Anita Mall, Arcadia, CA* (0:23:11) Derek Chauvin mother, Nov stabbing* (0:27:28) Watch Night, New Year's Eve prayer, slavery emancipation* (0:34:02) MR MAD, Chicago: Happy New Year!* (0:38:07) Central Park Five Councilman Yusef Salaam* (0:47:21) Porch pirate, Amazon package theft on cam!* (0:50:08) Stealing catalytic converters from Corollas!* (0:56:02) Break: Joel Friday TV, Anchor Baby* (0:56:54) "I Want to Be a Clone" - Steve Taylor (1985)* (1:00:49) Supers… DLive love* (1:04:33) Coffees: Govt waste, Vacation, Manson* (1:10:40) FREDERICK, CA: USA crimes; Afterlife; the Flood? * (1:23:12) MARI, CA: Happy New Year!* (1:26:14) DENNY, BULGARIA: The Great Flood facts, Jesus, Trump* (1:39:38) WILLIAM, CA: Crime, theft in SF, race* (1:48:58) WILLIAM: Japan earthquakes* (1:50:32) Call me tomorrow! Last Supers* (1:51:40) "T-120" - Orchid BLOG https://www.thehakereport.com/blog/2024/1/2/happy-new-year-with-hake-crime-tue-1-2-24 PODCAST by HAKE SubstackLive M-F 9-11 AM PT (11-1 CT / 12-2 ET) Call-in 1-888-775-3773 – thehakereport.com  VIDEO  YouTube  |  Rumble*  |  Facebook  |  X  |  BitChute  |  Odysee*  PODCAST  Apple  |  Spotify  |  Castbox  |  Substack  (RSS)  *SUPER CHAT on asterisked above, or  BuyMeACoffee  |  Streamlabs  |  Ko-fi  SUPPORT HAKE  Substack  |  SubscribeStar  |  Locals  ||  SHOP  Teespring  ALSO SEE  Hake News on The JLP Show  |  Appearances (other shows, etc.)  JLP Network:  JLP  |  Church  |  TFS  |  Hake  |  Nick  |  Joel   Get full access to HAKE at thehakereport.substack.com/subscribe

#016 - In this episode, we interview an old friend of mine, Lenny! Justin has just come back from Japan, and we were itching to get a couple of episodes recorded. I met Lenny back at Crown working Security, and when you've got nothing to do at 2 a.m. on a weekday whilst standing at a door, we became good mates through our shared passion for cars.In this episode, we talk all about his love for KE70 corollas and his experience moving to WA from the NT. We also discussed his other hobbies (archery, War Hammer 400k figures, and Buhurt). Lenny's Socials:https://www.instagram.com/rolla_lenny/Show Notes:https://lonelydriversdriving.club/lddc-016Lonely Drivers Driving Club: Website: https://lonelydriversdriving.club/ Insta: https://www.instagram.com/lonelydriversdriving.club/ Justin's Socials: Insta: https://www.instagram.com/justinarmarego/

You've probably heard the adage that when a woman changes her hair, she changes her life. When Keziah Dhamma Big chopped her hair after moving from Sacramento to Los Angeles, it led to a whole new career. She went from an actress and model to a beauty entrepreneur all because she couldn't find what she needed for her thick, textured natural hair. Since developing her Snappee hair ties, Swirly Curl has become an ever-expanding platform that includes hair accessories, a blow dryer, and haircare products, including a hair growth serum, a book, an educational platform, and a new podcast, Hey Curlfriend. Keziah shares her personal journey, how she built her business, what she learned from trying to patent her design, why it was important for her business to evolve, and why it is important to stay true to her brand. She will also share some key tips for entrepreneurs, so stay tuned until the end! Products mentioned in this episode: Snappee Hair Ties, Snap Scrunchies, Headbands, Adjustable Bonnet Manga Moringa Moisture Collection, and the Go Grow Curl Elixir (watch the video to see how you can get 15% off your purchase). Visit the website to shop for the products.   The SwirlyCurly Method Book (watch to find out how to get a free copy)    FULL TRANSCRIPT below: Keziah Dhamma  00:00 So just for entrepreneurs who are listening to this, from many conversations with our lawyer and things like that is that even though it's your design, if another company changes one feature about it, your patent is no longer valid. So I think the most important thing out of everything is first to market, get some market, get in stores get known, there is always going to be someone coming and knocking you off. China loves to do that. But you got to just be out there and be known and you find your customers and they will ride with you.   CC  00:37 Well, welcome to start right here. We're talking to bipod VT pros about breaking into the industry, standing out and defining success for themselves. I'm your host, Karina COVID, our LGBT director, turned consultant, but I'm also adept connected. What does that mean? I love linking and sharing ideas, information, and people so that we can all succeed. And I do this show because I'm an advocate for creating an equitable, inclusive beauty industry. And this shows one way to bring you the information if you want to take a seat at the table, or build one appearance. So let's get into the show. Everyone's heard the adage. When a woman changes her hair, she changes her life. Well, today's guest not only changed your hair, she changed her life and her profession and became an entrepreneur. I'm happy to welcome because I Adama who is an entrepreneur of ever expanding platforms. She is the founder of swirly curly girl College, and the author of the swirly curly method. We're going to hear how she came to be an entrepreneur and the career path that she's taken as a result. So welcome, because I am so happy to have you on the show today.   Keziah Dhamma  02:00 Thank you, Karen, thank you for that introduction. That was lovely. I'm going to have to take that and put that in my bio. And the way you said it all. Yeah, because   CC  02:08 you do have ever expanding platforms. And that's a wonderful thing.   Keziah Dhamma  02:13 Yeah, thank you.   CC  02:15 What's interesting to me is that you started out as an aspiring model and actress. Tell me about following that dream.   Keziah Dhamma  02:22 Yeah. So when I was a little girl, I was always watching TV. And, you know, if you were born in the 80s, you watch TV. Nowadays, kids don't touch TVs, because you know, it's not good for their brain. But I was always watching Mary Kate and Ashley Olsen movies, they were traveling, I love the Travel Channel. And I would see young, I guess you could say actresses, and I thought, You know what, that's something I would love to do. Because their life just seems so exciting to be able to go on a location that's different from their everyday life and film. And so I went to college, I would say I was under the impression like many people, you know, in the 80s 90s, even early 20s. I feel like things have changed now. But where you go to school, you graduate, you got a good job. That was kind of the path most people took. So I went to school, I got my degree in Communication Studies, and I was focusing on broadcast journalism. I wanted to be a news anchor, I wanted to do CNN. So it was kind of close to being an actress, but not really fully going there. I think, you know, I was scared a little bit. I didn't ever really take any classes in acting until I graduated college. And then I took a summer class in acting. So I got to LA and I was interning at new stations. And I was trying to get a job as a young journalist. And I was like, if I can get a job as a journalist, I'm going to take it. But while I'm out here, why don't I just try out acting as well. And I said, the first thing I'm going to get if I get the job internship, or if I get an acting gig I'm going to go with, so I ended up getting an agent. And then after five auditions on my fifth one, I booked the commercial. It was for the Oprah Winfrey Network. And it was like a picnic. And there was a couple other people there. And it was awesome. And the amount of money that I made. I mean, it wasn't a ton at the time. But I was like this is definitely what I need to be doing. So I've ended up going along that path for many years, until I got to the point where I started my company, which was something I had never thought of doing being an entrepreneur. But that's really how I pursued the dream. I just kind of went around it to kind of get in versus just going straight for it. And the time that I did, it was like 10 years. I had so much fun. It was exciting. Of course there's ups and downs in it. You're not working all the time. So you have to have like a supplemental job, which I was working at a restaurant, which a lot of people do. So it was great while I did it. Yeah.   CC  04:44 So would you consider entrepreneurship, a destination or a detour?   Keziah Dhamma  04:48 was a really great question. I feel like entrepreneurship is a destination for me. Looking back at all the things I've ever been interested in all my strongest skill set It's have all come out in entrepreneurship. From a young age, I was the girl that would come home from school. And I was like, Mom, this class is not challenging me enough, I need to be an honors. And my mom was like, Okay. And so I always have gone for very challenging things, I would sign up for like chemistry classes in an honors program, not even taking the foundational chemistry class, I'm like, I can hang, I can learn this. And so entrepreneurship really does that. It brings out all your best skills, and you get to use them on a daily basis. And so I find that I'm always creative. I'm always doing things that bring out my best skills. And I'm also learning new skills, and it puts you in the most uncomfortable position that you can ever be in in your entire life. And you just got to figure it out. I actually get a high from it.   CC  05:53 Talk to me about your upbringing. Where did you grow up? And how did that shape your ideas about beauty?   Keziah Dhamma  05:59 I grew up in Sacramento, California, I basically grew up, people say maybe like the ghetto, the hood, my mom was a single mother, I have three brothers. So there's four kids, we didn't grow up with a lot of money at all. And my youngest brother, dad was in the picture on and off for a while my dad actually ended up going back to Nigeria when my mom was pregnant with me, because He's the eldest son and my grandfather passed away suddenly in a car accident. So as African culture has it, if you're the son, you need to come back and care for the family, because my grandfather did everything for the family. So my dad went back, and he actually left when my mom and him got married, he was on adjustment status for his green card. And this is back in the 80s. And you're not supposed to leave when you're applying for your green card. And so long story short, he wasn't able to come back. And so my mom moved on, and she was dating my younger brothers, dad, and I have three brothers. So I was really a tomboy. I never really knew about makeup. It never really occurred to me to like, look kind of cute. I mean, as a girl, you always gravitate towards girly things, flowers and stuff like that. But hair especially was like the pain point for me. I couldn't do anything with my hair. I never know what to do with my hair. And my mom didn't know either. My mom would go a couple of weeks without combing and detangling my hair because it was such a hassle. And whenever we did it, of course, I would just cry and scream. And my mom would do her best to kind of put it in like little pigtails. And she would keep it short. So we're constantly cutting my hair. And I would always be so sad because I as a girl wanted longer hair because beauty of course, what we saw on TV and around me was longer straight hair. So all the girls in school who even were mixed race or black, they had straight hair for the most part. And I was the only one that really wore my hair natural. Not really by choice. It was just by like what it was I was always looking at the girl saying Mommy, please straighten my hair. Let's do something. And I would see that their hair was just longer and it would touch their neck and mine would maybe touch my ear or something. So Beauty for me was really the European standard of beauty.   CC  08:06 Right? What was the first product you ever chat or bought? Like hair product? Any kind of Prada hair skin? Lip gloss?   Keziah Dhamma  08:16 I'm thinking like in terms of with maybe my own money or my allowance? It probably was an eyeshadow. It's probably like a blue eyeshadow and I just put the eyeshadow on.   CC  08:26 And was it an eyeshadow that worked for your skin tone?   Keziah Dhamma  08:28 Probably not. But I know I was really into eyeshadows   CC  08:32 that's great. Did you ever wear your hair straight?   Keziah Dhamma  08:35 I did. I did for a long time. So when I was about 10 years old, my mom found out about a relaxer. And I was all about it because I wanted my hair straight. So we went to Target we found the just for me box on the bottom of the shelf. And we got the strongest one we were like the maximum strength because we're like, this hair is so thick. It needs all the strength it needs. And so we got it, we put it in my hair. And honestly, it was like amazing. We were like wow, like I could feel my scalp. It felt like water was touching my scalp. I could comb my hair, my mom could comb it. It just became so much easier. And the only issue I realized is that after it was straight, and I looked at the box, and I was like I don't look like her. I don't look like the girl on the box. My hair was straight, but it still had a lot of volume. So it was straight with volume. And I still pulled it back. So I still did everything I did before it was just straight. So I feel like I kind of in a way got something that I wanted from it but not 100% I still felt uncomfortable with my hair. And I still felt that it wasn't beautiful.   CC  09:36 So you're in LA, acting. Were you talking about broadcast journalism, I'm assuming you're still wearing your hair straight. When you were thinking about that. When did you decide to transition back to your natural texture?   Keziah Dhamma  09:48 Yeah, it's actually a funny thing. So when I moved to LA my hair was still straight and I was still doing my blowout kind of with a blow dryer and straightening it and I got pictures down to try to get an agent with straight hair. and nobody would take me. I was like, overlooked and I was like, Huh. And I didn't necessarily decide to big chop and then go get an agent, I just could not do my hair in LA anymore. The water is a lot harsher in LA than it is in Sacramento. And so my hair was just puffing up and I was already in a transition. And I was growing up my natural texture. And there was one day like my hair literally broke off in the shower. They call it the demarcation line between the natural hair and the straight hair. And just chunks were breaking off. And I was like, I can't even pull my hair back. I can't hide this anymore. So I ended up just big chopping it myself at home. And I went to my job and everybody was like what happened to you? Because I one day had straight hair. And the next day I had a short curly afro. Well, I mean, it wasn't even really curly. It was just really like an afro, and I started rocking it like that.   CC  10:54 Once it started to go out and you wanted to pull your hair back. What problem did you encounter?   Keziah Dhamma  10:59 Well, I've encountered a lot of problems. Well, one, I just couldn't pull it back because it was just so short. And you know, natural texture. Because of the curl and the pattern, it shrinks up a lot, so I couldn't really get it back. I also couldn't find any hair accessories like a hair tie, or scrunchies that would actually fit around the thickness of my hair. And that was really frustrating. So what I had to actually do is I had to stretch my hair, kind of make it straight just to get it pulled back, which is what I was trying to avoid the whole time. I'm like, I'm embracing my natural curls. I really want to put my natural hair back and I was struggling. And in fact through that struggle was the reason why I created our first product, which is the snappy hair tie. Okay, so   CC  11:43 when you created this, you told me June on it sticky.   Keziah Dhamma  11:48 Yeah, I did, actually. So there was one day I was going out for auditions. And in the meantime, I decided I wanted to go to the gym, do a workout. And I had to stretch my hair to put it back in a hair tie. And I had just one elastic hair tie left and I tried to put it in my hair and it just broke flew across the room. And I was so frustrated. And I was like I really wish I had something that just would snap on and snap off and fit the thickness of my hair. And then it was like boom, that IDI just came to me, which was a sappy hair tie. I just grabbed one of those yellow posted and I just sketched it and I said hair tie snaps on snaps off. And I forgot all about it. It was on my desk and like six months later, my brother who's actually a famous Barber, he's called chukar, the rich barber. He had started his business. And he started his online portion where he was selling products that he created for barbers. And he's solid. He's like, what's that posted? That idea on your desk? And I was like, Oh, it was all dusty. And I was like, Oh, it's a hair tie and snap on snap off. And I was all excited. And he's like looking at you. He's like, you're really excited about that. He's like, You should make it and sell it. And I was like no way. I was like, I don't even know the first thing about business. And I'm just focused on acting like that's where I'm at. And he's like, see if it's patent if it's not that and try to get a patent. And maybe you'll do it later. So I was like, okay, and a year goes by I'm doing the same thing. I'm modeling, acting, working at a restaurant. And I thought, You know what, I have some extra time. Why don't I try to make that idea. And so I actually went for it. Walk me   CC  13:16 through the process of making your first one. What was the trial and error? Like? Do you remember how many trials how many iterations you had? Do you get the right one?   Keziah Dhamma  13:25 Yeah, so in terms of a prototype, it took me about three times to get a prototype together. But in terms of mass producing it, that's where the hard part came because I had this prototype that I pretty much just got some fabric, I was like it needs to be stretchy. I also had got other hair ties on the market. And I was cutting them open to see what they were made out of. And a lot of them had elastic in it, which was fine. But what I noticed is the elastic was breaking my hair off. So with regular elastic hair ties, when they stretch, the fabric kind of opens. And then when you let go, they will snap back and they snap whatever hairs right there. And that's where your hair gets pulled out. And so I was like I want to eliminate elastic in it and just use a fabric. So I found a stretchy fabric. And then I was like I need to find something that snaps on. So there was various different snaps and I started trying them and I was like well, I can't do a metal snap. People don't want that in their hair, you know and started having to do that. But that part was pretty easy because I could just go to Joanne's and find stuff. And honestly, I'm a pretty crafty person I'm really hands on. I used to love origami paper mache. Like I would do all kinds of vision boards and just give me something and I can put it together. But now when it came to actually mass producing it, it was finding where can I actually get this fabric at a better quality and where can I get this made? So I was actually making half of it by hand. For the first two and a half, three years. I literally had a snap machine in my studio apartment in Hollywood. And I would come home for auditions and I would pull everything out and I was like ah arts and crafts and I was cutting I was snapping it, packaging it shipping it out customer service. Like literally I was everything.   CC  15:07 So your model actress, talk to me about what you learned doing that work that you apply to your business as an entrepreneur?   Keziah Dhamma  15:15 That's a great question. I would say some of the biggest things, it's been easy for me to transition to being on camera, because with acting, you're doing so much uncomfortable on camera work, you're auditioning, you're repeating remembering things. So I've just kind of like taken out in my mind, that kind of nervousness of being on camera. I'm always on the spot. And as an entrepreneur, you are people are asking you questions, just day in and day out. So that was kind of an easy transition. Although growing up, I was really shy girl, I would literally like tear up when I would get called on at school and I had to speak. So I was always avoiding it, which is really funny that I'm actually really in it now. You know. And if you get me talking, I can't stop talking. And then the other thing I'll say is that I really understand business from a business standpoint. So let me say that before, when I was acting, I was just like the actress, I was only one portion of the whole process. And I in a way thought everything was about me, I didn't realize that there's so much more going on on the other side. So I just have so much more compassion for business owners, people just like I can see the multi layer of everything. And I think that really helps when it comes to just operating a business and communicating and working with other people. And then also, of course, whenever we're doing campaigns ourselves, like hiring models and stuff. I know how to set all that up, because that's what I did for a long time.   CC  16:45 Tell me how you found your first customers? Did people see you wearing it and say, what is that? I want one.   Keziah Dhamma  16:51 So my first customer was my brother. And he ordered online, just make sure the website was working and everything. And then I started reaching out to influencers, YouTubers, people basically on YouTube, because I knew that when I was looking for hair products for my natural hair I was on YouTube looking for. And so I watched a lot of these girls, and I asked them like, Hey, can I send you some product? Let me know what you think. And if you like it, will you do a video and that's how it started to roll is they would do a video and then they would have a coupon code they can share and give a discount to people. And then customers were coming in through there. So that's how it first started. And then yes, right after that, I started going to expos I was like I need to get in front of people. I need to go to hair expos beauty expos. And so we actually did the essence festival for three years in a row. But this was much later down the line. It wasn't right out the gates because the essence festival, it's really big. And it can be really pricey to do the whole thing. But local ones, we were in Atlanta, all sorts. And so that's how I started to do that as well. And then people would find us on Instagram and everything. So not that it was easy back in the day. Not at all. But it was different. You could definitely reach out to somebody, it was just all more organic. And you could get customers that way. So it was as long as we were pushing that out. We were getting customers. As long as we were having some type of social presence people were coming in.   CC  18:16 Are you still doing stuff in your apartment? Or did you move to mass production.   Keziah Dhamma  18:21 It took me about three years before I finally gave it up. I was like I can't give it up. I wanted to and I also wanted to make sure that everything was good. But yeah, I was looking for a long time to make the hair assessories in the US. And everything was so expensive that I eventually had to outsource overseas. So that whole process took about a year from like start to finish to try and out people and getting it up and running. But ever since we've done that it's been actually really good thing because now obviously we can scale we can sell a lot more. We're always in stock and things like that.   CC  18:54 So you started with this nappy, how many skews do you have now   Keziah Dhamma  18:57 we have over 30 skews of all kinds of products so we have the snappy hair ties and current I'm so sorry. I'm like I need to be sending you some products. So we will be doing that. You can dry them out and everything. Especially for your beautiful dreads. The scrunchies are gonna be amazing. Yeah, we have our snap hair ties we have our snap scrunchies so it's a scrunchie version of the snap feature where it snaps on and off. Great for dreadlocks people absolutely love them because here's the thing is you don't have to pull your dreadlocks through. You can just snap it around, snap it on and then snap it off. And people absolutely love it. And it's the same thing with our regular hair. We also have our adjustable headbands. And these have three different settings. So small, medium, large, because everybody has a different head size. And I find that headbands I used to get would just slip off my head. And so you can adjust it per size and people love that as well for dreads. And then we came up with our adjustable nighttime bonnet because me and my friends used to complain that we'd wake up and we're like, where's our bonnet? We're looking all over for it. Like never even made it through the night. And I was like, How is this supposed to protect my hair. So I went on a mission to make sure that it stayed on the hair, it was comfortable. And again, everybody has a different head size or preference. So it's adjustable as well. So it has small, medium, large settings. And then after those hair accessories, we came up with some hair jewelry. And then we moved into our liquid product line, which is our shampoo, conditioner, styling cream and gel. Then we came out with a hairdryer. And then Recently we launched go grow hair growth elixir, which has been really great. And it's an all natural Elixir.   CC  20:36 Okay, so I want to come back to the elixir. You started out with a company in a product called snappy, but your transition to swirly curly, tell me about when that happened. And why you decided to do that.   Keziah Dhamma  20:49 We transition to swirly curly from snappy, mainly because when we were trying to get the trademark, somebody had a trademark in the same category as hair assessories. And we really didn't want to have any confusion. They basically came back and said, like, Hey, you can still go for this. But there may be confusion and it could probably cost a lot more money to try to make sure we got that trademark. And so by sat within and thought about it, I was like you know what, what if we come up with a name that really encompasses more of a like holistic brand, and talks about textures and curls, and that's when we came up with squirrely curly, and then we still kept snappy as the product line. But we just have to really curly as the overarching brand name.   CC  21:31 Now, did you ever patent snappy,   Keziah Dhamma  21:34 we tried really hard. And in fact, we spent a lot of money trying to patent it. And the reason we weren't able to patent it was something really small. So I don't know if you've ever been through the process. Have you heard people that have been through the process.   CC  21:47 I've had some guests who have had patents, yeah,   Keziah Dhamma  21:49 we filed a patent pending. And we did change some of the features on it very small, changing of the features. And when we filed and we told them, we changed the features, they said the features that were changed were not enough, because there was a window when you file the patent pending to filing the patent and, and you must have some changes in between there in order to be able to file. And so they basically said the changes were not enough. And so we tried and we took it to the next level. And we tried and they would just wouldn't give it to us. And so we just decided like, okay, that's fine, we're going to just move on. And we're just going to focus on our strong branding for the product, so that people know us as the original snappy hair tie. And that's where we really left it, it was a design patent anyways. So just for entrepreneurs who are listening to this, from many conversations with our lawyer and things like that is that even though it's your design, if another company changes one feature about it, your patent is no longer valid. So I think the most important thing out of everything is first to market, get to market, get in stores get known, there is always going to be someone coming and knocking you off. China loves to do that. But you got to just be out there and be known and you find your customers and they will ride with you. And you just can't worry about everybody out. So Ross, you're always worried. And so that's something we can talk about a little later. Because when it comes to business, if you're focusing on everyone else, then you're not staying true to yourself. And people who really succeed are the ones who create and not compete.   CC  23:22 That's amazing. That is so smart. Create not compete. So the question becomes what do you focus on? I also like what you brought up about patents. So once your patent is filed, people can look at your design. But if you have a trade secret, that's yours, it's yours. You don't have to share that with anybody if it's a trade secret. And that's yours for as long as you want to keep it.   Keziah Dhamma  23:45 Yeah, definitely your distribution model.   CC  23:48 How were you selling it was a direct to consumer.   Keziah Dhamma  23:52 Yeah, we've pretty much always been direct to consumer straight off the website, at hair expos. We're on Amazon as well and walmart.com. And then recently, over the couple past two years, we've been getting into some smaller beauty supply stores. And this year, we really feel like we're ready for retail. So that's what we're approaching this year. We're like, starting to get everything lined up or re I guess you can say rebranding some of the packaging. We've went through so many rebrands and there was many times we're like, we're ready for retail. We're ready for retail. And then we have the conversations with possible companies that can help us and we're like, oh, we're not ready yet. Because you know, it's a big beast. And so we wanted to make sure that we had everything down. And now we're ready. Yeah,   CC  24:35 it is really, really a big beast if you like what you hear, why don't you subscribe to this dirt right here podcast and leave a review. And please sign up for our mailing list at the beauty roundtable.com So you will be in the know about all the good things coming up. Let's now talk about the swirly curly method. How did she come up with it? And what is it,   Keziah Dhamma  25:05 so the swirly curly method and also the book this really curly method, the easy step by step guide to getting you the curls that you love. It's a method that is simplified, effective, and is going to get you beautiful natural hair, and less time and effort. So I found during my journey and a lot of my customers, friends, family, all of that when it came to natural hair, it was like, Oh, my God, it takes too long. What products do I use, oh, I put this product, this product and this product, were people sitting at home and making these home made dy eyes and I did all of that as well. And I just never got the results I was looking for. And I was really on a mission to figure it out. I was like, I really want to embrace my curls. And I know that it can be easy. And I know that I can just do it with less time and effort. So this really curly method is that. And throughout my experience of over 13 years, I also interviewed some of the top celebrity hairstylist like Vernon Francoise, Shai, the curl doctor and I even flew out to naturally curly headquarters, I got really serious about like my education on hair. Because before it was always like, try this product, try this other product and going on YouTube and watching videos. But I never invested in like my true education like from experts. Or you could even say mentors, and once I did that everything started to fall together. And it really confirmed some of the stuff I thought I knew about hair. So swirly curly method is four simple principles. And they go like this. First is cleansing. So you want to cleanse your hair every seven days, you don't want to pre poo on seven days, you don't want to co wash you are cleansing your hair every seven days with a cleansing shampoo, then you move on your conditioning. And this is where people get confused because they're like, Oh my God, my hair is so dry, I need to decondition and they will put a deep conditioner in, they'll sit under the dryer or keep it on all night long, two or three days, or they may never wash it out of their hair. And I used to do that too. That's why I'm laughing. And I'm like, why is my hair looks great. It was soft, but then it was straight. And then maybe in two or three weeks, my hair all sudden just would be stringy. And I'm like what's going on, I use the same deep conditioner, and it was me over conditioning my hair and not rinsing it out. And then by then I would switch products but you don't have to. The issue is is that we're over conditioning our hair, we're using it too much. And you actually want to only deep condition your hair once a month. That's when you know your hair is healthy. If you're not there yet, I recommend starting on bi weekly, do we conditioner, and then a deep conditioner, conditioner, deep conditioner and going like that, then the next step is the styling process. But it's how do you add your styling products to your hair. There's so much out there, there's curl creams, there's mooses, you're like confused, you don't know you're adding like four or five products on your hair. The minimum that you need to add is a styling cream or it can be a leaving conditioner and a gel or mousse. Now people are like what about the oil? What about the butter? I do not recommend these. And here's why is that they actually dry your hair out instead of hydrated. When people talk about oh, they seal in the moisture, but they seal in the moisture and they seal out the moisture at the same time. So throughout the week, if you're adding any more water on your hair, any additional product, it's not actually getting in and your hair is just dry in the inside. So when people transition to a styling cream in a gel, they see significant major results. They're like Oh my God, my hair's curly, and like, oh my god, it's still soft, and the moisture is there. And of course there's different gels on the market. So you want more of a moisturizing gel. But there's that styling portion of how you have the products. And then the fourth one is protection. How are you protecting your hair, not only just at night, throughout the week and everything like that, but also, I give tips and the method of how to prepare your hair at night so that it's ready for the morning. So it literally takes you five minutes to refresh style and be out the door.   CC  28:53 And that's so critically important because people who wear their hair curly, especially if you do a twist out or a braid out or bantu knots. There's that moment where it looks just like fantastic. And then you look in the mirror and say, what happened? What happened? So how do consumers respond to the book into the product and the method   Keziah Dhamma  29:16 so the people who find out about this really curly method, and we have the product line to go with it which is our mango Moringa moisture max line. They absolutely love it. They're so elated. They're so excited. They're like oh my God finally something that works for my hair. And the way we really developed it was I took in all the things that I knew I took and all the things that customers myself friends had complained about and it was like okay, we want a shampoo that's not going to strip out all our natural oils and make our hair feel dry but cleansing. So it's a botanical cleansing shampoo that we made for the line and then the conditioner, you know it has to have slip it has to be thick enough so you can detangle your hair and then the styling cream has to be thick and easy to apply dries quick So you're not waiting all day for your hair to dry. And then the same thing with the gel. People don't want it flaky, crunchy sticking and all of that. And their hair curling hard and shrinking up, the shell actually helps to elongate and do all the things that gels do without all the downfalls of it. And so when people find out about the book and the method, they're like, Finally something to guide me in a way where I can get results, and they feel like, they just have a path now versus maybe going online and doing their own research and just trying to just figure it out. And that's what we've all done for so many years. There's a few other methods out there. There's like the curly girl method and stuff like that. But the people that find this really curly method, they love it, because it's for natural hair. The other ones are for curly hair, which it's the same and also different. So people who find mine that has natural hair, more Afro textured hair, they absolutely love it.   CC  30:51 That's great. I want to hear about this growth. 00 Yes.   Keziah Dhamma  30:54 So the story about the grocer is that, of course, people are like moisturizing hair, thank you, bye, girl, I need some help with hair growth. And I'm like, I don't really know about hair growth, like that is a different beast. And people have a lot of issues with hair growth, because it can be internal, external age, race, all that stuff. And so I had been doing research, and I would recommend what I could recommend. But then I actually found a black female trichology, who actually focuses on scalp so she learns about hair loss and hair growth. And so she and I had been talking for pretty much the last year and discussing coming up with a hair growth serum. And I was like, Can you help me make something because basically, in her textbook, she wanted to go all natural when it came to a hair growth serum. And there's a lot of oils on the market. And she realized that there was a couple of key ingredients that actually make hair grow, that she just found in her textbook when she was doing the research. And so she started to make the product. And she started to try it on her hair because she actually had hair loss herself. And that's what got her into being a tri ecologist, because she's like, I'm gonna figure this out. She was an extension girl, you know, the glue on extensions. And that's how she lost her hair. So she and I've been talking and she had made something and I was like, Can you help me make something for my community. And so we did. And we launched it. And she's actually in Canada, and everything's all handmade. So she's been making it and we have been selling out like so fast, and people have had to wait a long time. So we've transitioned to making it here in the US. And so it's getting sorted faster now. But long story short, is that me and Angela, we work together. She's a black female psychologist, she understands black hair, and scalp and women who have issues that have melanin skin, or who are African American, and how they affect us. And so the serum is for our hair and our scalp. And some of the key ingredients is the rapid grow tea that we have in it and our key and curls that we put in it. Those are the two key ingredients that really help to stimulate the growth.   CC  33:01 So folks, just so you know, we're gonna have a link to the book to the Corollas as well Akali method and all the products in the show notes. So never fear, you'll get the information. Yeah,   Keziah Dhamma  33:11 and I have a special gift for everybody. So we'll stay till the end, and we'll tell them what the gift is.   CC  33:16 Let's talk about Carl college have that come about? So curl   Keziah Dhamma  33:19 college is our online community. It's basically an educational platform where you get video tutorials on how to care for your natural hair. So how to get beautiful curls and less time and effort. And I'm the main instructor. It's over 50 videos on wash day, this really curly methods in there, we talk about how to get moisture to your hair. That's probably one of my favorite courses is the maximum moisture masterclass, because it really works. I mean, everything works. But like this one, when people do it, they're like, oh my god, they see the results. We talk about hair grow secrets and stuff like that. So it's all in there. And it's all self study paced videos. And it's a course and at the end, you pretty much graduate and you will be sufficient and doing your own hair. There's also the community aspect where we all get together, we have bi weekly live calls. We actually have one tonight, and girls come on in if they have issues with their hair, and they need help and support. We'll talk about frizz, we'll talk about styling the curls. And we'll get on and we'll discuss it and we'll go through how to combat some of the roadblocks that people are having. But curl curl is really just came out of you know, our customers are like, how do I sell my hair like this? How do I do this? And so I would be writing them and we would send them emails and blogs, but it was just not enough. So we created the community of curl college. I love that.   CC  34:39 And you got one more thing coming now. So you're going to be doing a podcast. Tell us about it.   Keziah Dhamma  34:44 Yeah, so we actually just launched our very own podcast. It's called the Hey Girlfriend podcast. I'm your host because I Adama and we decided that we have presence on YouTube. We have presence on Instagram. We're on Twitter and all the other things but we hadn't dived into podcast and we find a lot of our community hangs out there. And we really wanted to also bring on other experts in the industry. And we wanted to highlight other women's natural hair journeys because we learn through other people's experiences, conversations. And I thought it would be really, really wonderful to have other people with other textures, share their experience and share what they found to work for them. Because a lot of times people are hearing from me, but somebody may have a different texture. And I think that's so important. And then of course, we're going to highlight black owned businesses, other people who are doing great things in the community, as well. So I'm so excited. And Korean has already said yes to coming on the podcast.   CC  35:43 Yeah, I can't wait. I'm so excited. Like I said at the beginning, because I is in charge of an ever expanding platform, I really think it's important to talk about doing hard things, because we don't talk enough about failure. We don't talk enough about things that are hard and getting good. What is the toughest challenge you faced thus far?   Keziah Dhamma  36:04 That's a great question. There's been quite a few toughest challenges. But I would say I'm torn between two, I'm gonna share both. The first one is working with my husband, we work together in the business. And we have since the second year of business. And that's been challenging, because at times, or a lot of times, I'm focused on business, and I'm in my work mode, and he's still thinking I'm his wife at the moment, and not that we aren't married. It's just a different type of communication. And so it's been challenging, and we're both like two CEOs, we have the same vision, but different ways about getting there. And because we're both still strong personalities, that has been challenging, he has really great ideas. And I have really great ideas. And I will say after six years of working together, we really have found how to work together and we kind of stay in our lanes, we stay in our lanes, and we support each other. And we give each other things that complement our skill set. And that has been really working for us. And so that's been challenging. And then the other challenging thing is staying true to ourselves, we see things that other people are doing or other brands that may be considered competitors. And it's like, oh my god, we should be doing that too. Or let's do that, or Oh, that was our idea we were going to do this. And it was like staying true to ourselves and focusing on our plan, and our uniqueness. And I find that's hard for anyone to do. I spend time researching brands and seeing trends and stuff, especially online and online marketing. And it's so easy to hop on the train that everybody's on, just because it's a train and a trend. And trains and trends, they come in they go. So we try to focus on the things that are going to stay and we tried to just quiet out the noise because we do create content. So we're there we're looking at stuff and focus on ourselves. So I would say that's been a real true challenge is that staying true to ourselves? Because we've made moves that weren't necessarily true to ourselves, and then you pay for them. You get on the train, and you're like, Man, you sound pillowcases ain't selling that well. They're like, alright, let's not do that. Yeah,   CC  38:09 this applies to personnel, but also in terms of trends. Shiny Penny syndrome, shiny Penny syndrome, to me is, oh, it just looks so pretty. Everybody's doing it. And you know, you fall in love with this idea or a person or whatever. When you look below the surface, it's kind of like not really what you want it as an employee or as an idea in your business. And we often get distracted by those ideas, those shiny pennies, because   Keziah Dhamma  38:39 it looks so pretty. Yeah, totally. One thing I want to say to that is I forgot where I read this or somebody has said this is like the most wealthy most successful people are not in the limelight, they're not in the spotlight. And not saying that the people that are aren't, but if it's in your face, and there's a fear of FOMO like I need to be a part of this, it's probably not the best choice to do. And it's probably not the thing that's really going to make you the most money or success or whatever. And that's what I've also learned is like, you know what, just quiet down, listen to the inside voice and focus on that.   CC  39:12 Alright, finally, can you offer our listeners five tips on evolving a brand or platform.   Keziah Dhamma  39:19 One is talk and listen to your customers. Now your customers are going to say a lot of different things. You don't have to do everything but you should be talking and listening to them and reading their feedback every single week. That's how you're going to know what's going to sell what's going to grow, where you need to go because it's really funny people will start a brand and they think that their customers are one type of people, but you may attract somebody else. So it's really important to know who you're attracting. Because when we started we're attracted younger in their 20s type of women and now our clients customers are actually 3540 plus the second tip about evolving and everything is just knowing that you do have to evolve, the brand is always growing. If you're not growing, it's dying. So expect to evolve, expect to change, expect to create new things to expand, and you just have to have that mindset. I didn't, when I started, I was like, I'm making these hair ties, and they're gonna be store and I'm gonna do this forever. And I didn't realize no, I have to create new things. So definitely have that expectation and just be looking for the next step that you're gonna take. It's a journey. It's like a child. And then the third tip about growing a brand, I would say, be mindful of your brand, Dean, I've experienced just putting things out and just trying it out without having the proper branding on it. And then something takes off, and you're like, Oh, my God, this isn't the right color. This isn't the right branding. And it's really important so that you have a strong brand, presence online, because everything's kept online nowadays. So when people find you, and then they click on your website, and maybe the branding has changed, they might feel a little uncomfortable purchasing it. So I just think that's really important to just make sure your branding is intact. And then the fourth one is really get a mentor, somebody who has done what you're trying to do before and follow in their footsteps, but still making your own because there's a lot of things that somebody has already been through where they can share with you how to overcome it, or how to go around it, or whatever it is. So take it on. But of course make it your own. Yeah, and the fifth one I touched on this before is really just staying true to yourself and staying true to your brand, there's going to be a lot of things that come up a lot of outside input on your brand. And you really just got to quiet that noise down and focus on what's best for you and the company. Because also at the end of the day, you've got to remember that companies aren't this thing in the air companies are people. So you are your company. And everybody can say what you should be doing. But that might not work for you, your lifestyle, your life plans and stuff like that. Like I had a lot of people telling me to do a lot of things when I was pregnant, and I have three kids now. And I'm like, that's not the time for me to do it. I can do it in a different season of my life. So it's really important to focus on you. And with that said, is that you create your brand and your lifestyle. So just make sure that you know that.   CC  42:16 I love that you create your brand and your lifestyle. So you're driving the ship, don't let the ship drive you. Yes, exactly. And I think that's hard for entrepreneurs to accept. Because when you work for yourself, it's the grind.   Keziah Dhamma  42:29 Yeah, and we can be so reactive to everything happening. Yeah,   42:33 tell people, your social channels so they can follow you. So if   Keziah Dhamma  42:37 you guys want to visit the swirly curly website store where we have all of our products, it's swirly Curly haired.com. And I actually have a free gift for you, which is 15% off of any products that you guys may want. You just have to use the code podcast 15 and get 15% off, I have a second free gift is that we're giving away free books of the swirly curly method. So these are free physical books, all you have to do is pay for shipping and handling, which is just about $10. And we'll ship out the book to you. And you can go ahead and get that book at the swirly Curly method.com. And then on terms of social media, we're on Instagram, Facebook, YouTube, we put out weekly videos on YouTube, our podcast is going to be on the YouTube and that's just at swirly curly hair. And then if you want to say hi to me personally and see my three children that I pretty much only post on Instagram my whole page is just like children's stuff. I mean, there's a little bit of hair stuff on there. I'm getting back into it, but it's just at because I Adama and then the same thing at Facebook is because I Adama as well.   CC  43:36 Wonderful. Well Casaya I can't thank you enough for being on the show today. It's been wonderful chatting with you.   Keziah Dhamma  43:43 Same same criticism. So much fun. Thank you.   Cee Cee Corbett  43:45 That's all for today. Follow us at start underscore right underscore here underscore podcast on Instagram, and

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A shock to an old classic.Toyota's announced the most popular car model in the world - the Corolla will only be sold in hybrid-electric versions by the end of the year.Toyota New Zealand chief executive Neeraj Lala told Kate Hawkesby it joins some of their other models that have become fully hybrid.He says their plan has always been to move towards a fully electrified line-up, so this is a step in that direction.LISTEN ABOVESee omnystudio.com/listener for privacy information.

This week: new albums from reggae legend Horace Andy, D4 alum Dion Lunadon and SoCal racketeers the Zibs. Also: don't give up your day job, podcast maths, traditional storytelling, hybrid Corollas, reg-grey, the bug is the feature, Taylor's version, gentlemanly conduct, blues-punk chameleons, Boa constrictions, Staffo's TISM interview, being committed to the bit, the short-lived late-90s trend of big labels signing Oz indie bands, Polydor deep-dives, Good Things, the ultimate live music critics, over 35s at festivals, album titles that are also album reviews, come around to my way of thinking, being aware of the week(e)nd, fundie parent punishers, one of them things, third recommendations, Perfume Genius user reviews, not being as committed to the bit and YouTube rabbit holes. Albums of the week next time are from Orgöne, End Boss and Reef. Current and recent weeks' review albums can be found on our album review playlist on Spotify - our full 2022 review archive is also up there, along with our 2022 tripping balls mixtape, featuring our favourite tracks from new albums we've reviewed this year. The full list of all the albums we've ever featured on the show (including our top 5s from previous years) available elsewhere on the internet. BALLS and tripping balls are available on their own RSS feeds, as well as being found together on Omny Studio,Spotify and Apple Podcasts (feel free to subscribe, rate and review) - and we welcome your reckons via Twitter, Facebook and email. See omnystudio.com/listener for privacy information.

2Docs are not happy with Toyota's decision to bring so few GR Corollas to the US. They discuss the outrageous maintenance costs for supercars. 2Docs discuss the amazing migrations of automotive manufacturing to the South. Stephan addresses how speed in the wrong place and time magnifies injuries and fatalities.

There's a fundamental flaw in how advertisers approach the concept of “platform audience reach”, ThinkPremiumDigital says, and the argument goes like this: advertisers care about audiences, but despite large user numbers – the audiences aren't always paying attention. And yet, a platform's reach often dictates a brand's investment level. “Somebody on the platform doesn't mean they saw an ad,” ThinkPremiumDigital General Manager Venessa Hunt says. MediaScience's CEO Dr Duane Varan looked into this, finding it took five hours of social video to reach one minute of effective audience exposure. Conversely, it took just 12 minutes for premium video. “You cannot assume all exposures are equal,” Dr Varan says. MediaCom's Client Partner, Lynsey Mogridge, says clients are open to this, they're already planning on sales, not just reach or CPMs. Foxtel Media Director of Customer Engagement, Toby Dewar, says this research “talks to the old tradition, which is: context matters.” See omnystudio.com/listener for privacy information.

Camaros, Corollas, and Countaches, oh my! This week the LoFi guys are talking cars. But, as per usual, not how you might think. This episode isn't about car chases or car races. This is all about how the car was used in a movie. From a rusty ol' Gran Torino to a 1960s bus to some true classics, a lot of ground (get it) is covered this week. And one of the boys gets to really nerd out on auto's...but which one? You'll have to buckle up and tune in to find out!

We're back again for some more shenanigans!  And this time we stick to cars!  We open up with talk about the GR Corolla, talk about getting pulled over, and then we go off on popcorn...

Rollalife Podcast ep.16 PART 2 collab episode! The Rollalife crew joins us to talk about almost everything besides Corollas! Good times and even gooder laughs!

Ross and Chris welcome Tate Morgan to the show. Tate is the principal of the Gambler 500 in Oregon. Tate is also a part of HooptieX. He has an impressive collection of Land Cruisers, Pontiac Vibes, and many more Corollas. The guys discuss the Gambler's origin story, testicular cancer, stewardship, and picking up trash. Also discussed is the 2022 Ford Ranger Raptor with the Bronco Raptor, a $1,000,000 Unimog-based camper, Lexus LX600 off-road modifications, and a report from Cox Auto about the latest average car price.

Just your run of the mill episode- we're all over the place! I try to explain how dna works (not sure I got it right) I talk about cops being in my hood, and Gracen gives us a wreck update. Enjoy y'all!

It's DVG-Cember and Casey and Dave are in the giving mood. to celebrate the season DVG are bringing you the gift of Moisty Magic. Fresh from her 4 month ban from the show Moisty is back to talk 1992's Batman Returns.Casey discusses Selina Kyle stealing her home decorating flare, Moisty mansplains the finer points of Christopher Walken and Dave is fixated on Batman's cowl.The trio ask why the residents of Gotham all drive old Corollas, Micheal Keaton's vendetta against Maccas and just what Oswald's mum did with a penguin.Listen to us on itunes, Spotify or wherever you get your podcasts.or direct download the mp3 from the link below:https://www.buzzsprout.com/186739/9663465-batman-returns-aka-moisty-magic-vs-milky-boi.mp3?download=trueFollow Moisty Magic:https://www.instagram.com/missmoisty/https://www.instagram.com/politicswithapinup/https://www.buzzsprout.com/1868811Stalk us on Facebook, Twitter and Instagram or send us your sweet nothings at davesvideograveyard@gmail.com#batmanreturns #catwoman #milkyboy #timburton #moistymagic #movies #film #davesvideograveyard #moviepodcast #filmpodcast  

Llegaron las Tacomas y Corollas 2022 a Calesa Toyota de Caguas. 787-905-7059

Alison Eakle is the EVP and Head of Creative Development at Shondaland. We discuss how imagining movie posters makes her a better creative exec, being a co-EP on Netflix's #1 show Bridgerton, why she's racked up so many recent promotions, and being part of new Hollywood's most groundbreaking streamer partnerships. Subscribe to our newsletter. We explore the intersection of media, technology, and commerce: sign-up linkLearn more about our market research and executive advisory: RockWater websiteFollow The Come Up on Twitter: @TCUpodEmail us: tcupod@wearerockwater.com---EPISODE TRANSCRIPT: Chris Erwin:Hi, I'm Chris Erwin. Welcome to The Come Up, a podcast that interviews entrepreneurs and leaders. Alison Eakle:I'll never forget there was... The current assistant had put out a job posting. And how this works in Hollywood is you'll see jobs on things called tracking boards or emailed chains, but they always say, "No phone calls, please. Just email your resume." Right? And I was like, "I'm going to call him." And I did. And I just called him and I was like, "Look, I did not come up through the agency feed. I don't have the required experience, but I swear to God the desk I'm on is harder than any agency desk you can imagine. And I'll tell you why if you meet me for like 15 minutes." So we did. We literally met in the middle of the lot at Paramount. He was like, "You know what? I think my boss would like you." Chris Erwin:This week's episode features Alison Eakle, the EVP and Head of Creative Development at Shondaland. Alison grew up on the Jersey shore, actually my same hometown. She loved the arts since an early age, traveling to New York City for auditions as a young teenager, but she was planning to give it all up at Georgetown for career in politics until she had a breakthrough moment in her screenwriting class. Alison went on to get her MFA at UT Austin and then had roles in some of the most exciting production houses in Hollywood, from Paramount Vantage to Columbia Pictures and working for Ellen DeGeneres. Then a serendipitous moment took her to Shondaland where her career has been on fire. Some highlights of our chat include how imagining movie posters makes her a better creative exec, being a co EP and Netflix is number one show bridging that where she's racked up so many recent promotions and being part of new Hollywood's most groundbreaking streamer partnerships. All right, let's get into it. Alison, thanks for being on the podcast. Alison Eakle:Thanks for having me, Chris Erwin Chris Erwin:Very well, Alison Eakle. We got some history between us. Alison Eakle:That's right. Chris Erwin:So let's go back a bit. Where did you grow up? What was your household like? Alison Eakle:So I grew up in Rumson, New Jersey, which is a bit of a towny suburb, as they say, in the Northern part of the Jersey shore obviously. Well, I grew up the only child of Wall Street parents. Parents who had met kind of working at Wall Street in the '70s at a time that I've heard many incredible stories about. And it's interesting because when I was eight, there was a big stock market crash. And my dad was all for Morgan Stanley and my mom inspired him to start their own company, a financial investment advisory firm called Eakle and Associates. And so it's interesting I haven't really thought about that a lot, but I did watch my dad face what is one of my worst fears, that idea of just suddenly everything kind of pulled out from underneath you and I watched them together kind of build something new. Chris Erwin:Did your parents both work for the company? Alison Eakle:Oh yeah. My mom was VP, he was president and basically it was just a three person operation. And my dad, he had clients that he would manage their portfolios, but he put out something called the Eakle Report every week and would have to find really creative ways to talk about the stock market, which Godspeed to him because I wouldn't touch it with a 10 foot pole. I have no idea how to talk about the stock market. My mom ran all the logistics, taught herself computers at that time and really brought her up to speed fast. And they had that company for a long time until their divorce, which I have no idea what role the company played in that, but they definitely had it for, it was over 10 years, really successful. So that's kind of like what I grew up in. And I was very privileged. I came from a place of a lot of privilege where I went to private school. Chris Erwin:RCDS? Alison Eakle:RCDS, Rumson Country Day School, big shout outs, still very loyal to that school, that little short brown stone church on the corner. Chris Erwin:Are you still involved with the RCDS community? Like I have the friends from school I'm still in touch with, but I'm not giving back or anything like that. Well, maybe I should rethink it. Alison Eakle:No, I am not as involved as I want to be. I did have like a strange fantasy that one summer I'd go back or one year I'd go back to my 20s and substitute teach there. I don't know where that came from but- Chris Erwin:On the theatrical program? Alison Eakle:Yeah, why not? I'll do so. I love a school play. I love that. I love something roughly adapted from children's literature into strange costumes and children sputtering around on a stage, but it was just such a surreal experience because it was so safe, so incredible. I feel like that experience really formed me even from kindergarten on. And it was across the street from Bruce Springsteen's house. So what a quintessential New Jersey experience really? Chris Erwin:Yeah. I remember walking down Bruce's driveway on Halloween. He always would give out like the supersize snicker bars. Alison Eakle:Yeah. And [inaudible 00:04:44]. Chris Erwin:It was always like, we got to go to Bruce's house then we'd go to Bon Jovi's house. That was like such a fun thing. Alison Eakle:Yeah. That's very dead on. I grew up there riding bikes to the beach, just walking around the neighborhood. They're a very arcade fire of the suburbs kind of existence, but with the modicum of real safety that I so appreciate now and also again realize how lucky I was in a lot of ways. Chris Erwin:So I have to ask, your parents are to business, it's just funny to hear that. I just recorded a podcast last week with Naomi Shah, the Founder of Meet Cute, it's a new romcom podcast network. And her parents started a technology business based out of Portland, Oregon. And so it's just funny that now like a week later I'm interviewing you and your parents started a business together as well. There is an entrepreneurship vein in your family. So was there a theme though about your interest in the arts that came from your parents or did that come separately? Alison Eakle:That was from really my aunt and uncle. And look, my mom was one of those people who did leave her job when she had me, but continued to have that kind of type A excel at anything she put her mind to it personality. She was somebody who played the organ. We had like a Hammond organ in our living room now that I think about it. She had interest in music and musicals and all of that thing and certainly was very supportive of the arts, but wasn't necessarily kind of ensconced in it. Whereas my aunt had been an actress since the day I was born, my uncle had been an agent at Theatrical Agent in New York, but also run his own company called Cornerstone up until he died. And so for me... And they were much younger than my parents. My mom is like 12 years older than my aunt. Alison Eakle:So they were this cool young aunt and uncle really ensconced in show business. They took me to my first Broadway play Les Miserables when I was 10. I felt incredibly like I had a model to look at of like what would a life in that business look like. And I definitely was born with the bug and loved trying to get the solo in school plays or whatever it was. And eventually my parents did let me act as a kid and tried to make a go of it professionally. And I was represented at a now defunct agency called J. Michael Bloom. Chris Erwin:What age is that, Alison? Alison Eakle:So this is like, by the time I'm actually wrapped I'm 13. So this is like '93, which is a very awkward age to be putting yourself out there. But for whatever reason, I was really into it and loved it and had some close calls. I got to do a callback in a room with James Ivory for Jefferson in Paris, a role that eventually went to Gwyneth Paltrow, which I think the better woman won. They aged it up and gave it to her, I remember, but it was such a cool experience too for a year. My parents were very anti stage parents. They were like, "Look, you clearly have some bit of talent in this and you really want to try it. We'll let you try it. But it's going to be for a small amount of time." It was only like maybe a year and a half, two years and then you really do have to go back and focus on like high school if it doesn't click, if there's not for me. And I only went out, I didn't go out for commercials. So it was sort of- Chris Erwin:Did you take time off from school at all for this? Alison Eakle:RCDS was really lenient in the sense that if I had to leave at three o'clock for like an audition in the city or to do a reading for an off-Broadway play or whatever it was, I could be flexible, but come close as I may have, I never got the big part that would have necessitated the on-set tutor. Chris Erwin:Did you feel at an early age, a clear interest in the arts and that, hey, this is going to be my career, this is where I'm going to be? Alison Eakle:I think if you look at my life in general too, and we'll talk about this, it's so funny because that clearly was always had such a strong pull that even when I tried to divert myself to more stable or a prestigious academically kind of bent careers, like politics and things like that, somehow it would just find me again and kind of pull me back to acting, writing, performing, creating, that side of things. Chris Erwin:So I think it's good that Gwyneth got the part because you've obviously had very special trajectory at Shondaland, you are exactly where you are meant to be. Alison Eakle:That is very reassuring to hear. And I do tell myself that sometimes. And I do get to still read parts at table reads occasionally at Shondaland, which is how I scratched that itch. Chris Erwin:So you're acting in your teams, you have some representation, you're going out on auditions, I just got to throw this out there from the RCDS memories, for some reason this is so ingrained in my brain. I remember taking the bus with you I think after school and then going down, I think if I remember correctly, it was a stone driveway, a gray stone driveway. It was a circle. The school bus would go down that and we would drop you off and your house, was it a gray house or a white house? Alison Eakle:Yeah. A gray house and white trim. It doesn't exist anymore. It was raised to the ground to build some other crazy mansion, but it was an adorable 1920s house. Four fireplaces when I think about it. Good God. Chris Erwin:Wow. One of my earliest memories that is definitely imprinted in my brain and I remember specifically from you, I think you were a year above me. Alison Eakle:That's kind. I'm three years older than you. I just loved to hang out with... Chris Erwin:Yeah. So that's what I was going to say is that you befriended myself and my twin brother, John, and you're always so kind to us on the bus. So you were very interesting. You just had interesting points of views on things and we picked that up at a pretty early age. Alison Eakle was at the light in my childhood, but it didn't stop there. So after RCDS, I left that school system I think around third grade and I went into the public school system as did some of our other friends. At RFH, I think that's where we were reunited in a Spanish class. You were a senior and I was a freshman, was that Parker's class or Von Handle? Who was that? Alison Eakle:Oh, maybe it was Von Handle actually, now that I think about it, but I couldn't remember her name. I just remember she had great hair, like a really perfect... So what did happen was I took French from third grade forward. And then in high school I had done the AP and I was like, I sort of want to start another language when I might have a chance of speaking on a daily basis. And so I started Spanish as a junior, but it was hilarious to be... It was my only experience of being the lone senior in a class full of freshmen. It was such a blast and such a different perspective on things at that point in my life. I was so happy to be in it with you. And it was Adam Sachs too. Chris Erwin:It was Adam Sachs. Maybe John Waters was in there. Alison Eakle:Yeah. Waters 100%. And we had to make a video. I'll never forget this. We had to make a video project for the class. I forget who else was on my team, but there was like a surfer kid named Ryan. And we stormed at his house and I was just like, I'm 18 years old at this point just making a weird Spanish video with a bunch of freshmen in it, but it was great. I felt like I really loved that experience. Chris Erwin:Yeah. Very on theme again, a little bit older hanging out with the younger kids, we enjoyed it. There's something in the water, I think from like the Rumson Monmouth County area for Hollywood, because it's a bunch of people from the East Coast, but then Adam Sachs is running Team Coco, Conan O'Brien, you Andy Redmond running Tornante under Michael Eisner, you're at Shondaland doing a thing, Matt Warshauer another friend is a writer and- Alison Eakle:A really talented writer. Chris Erwin:Yeah. Impressive creator. And then I'm trying to do my thing at RockWater in New Media. So there's a crew of us out here together. Alison Eakle:It was probably the biggest surprise to me when I got here is how many people from growing up in New Jersey are out here, both from that experience, the experience we shared, but also somehow or another, we convinced a lot of people to leave New York when we first came out here in the mid 2000s. And we have a really... I always thought it would be kind of my film school crew that would, and there's a lot of them, the Austin Kids out here too, Austin, Texas, but tons of Jersey people. Chris Erwin:So after high school, the arts theme continues. You go to Georgetown, did you run a TV station there? Alison Eakle:Yeah. Well, it's so funny. I went there, again, trying to do like the sensible thing. I was like, I'm going to be in politics and urban development. And I had a real tracy flick then to me of like, I'm going to be the mayor of the city. And then I got into those classes and was sort of put off by the approach that the other students had to government and the idea that everybody was obviously in this kind of self aggrandized way. And I realized, oh, that's not maybe my jam. I'm not here to prove how much I know about how many congressmen are from which districts or what have you. I really wanted to affect change on a local level. Of course, part of its insane ambition. I don't think anyone decides to go into politics without being a little amped up about that and being like, I think I'm pretty great. Alison Eakle:I absolutely had that threat, but I felt so kind of outpaced by my classmates in terms of their ambition and I started to question if it was for me. And then weirdly enough, it was a sophomore class, a screenwriting class I took with a professor named John Glavin. And at that time, he had mentored Jonah Nolan who at that point had made Memento with his brother and suddenly I had, yet again, a model to look at him like, oh, somebody in a class just like this with this man as their professor broke through. Right? Obviously he has incredible talent. And that stuff can't be taught, but it was like suddenly I could at least see a path sort of. That same year, I think my sophomore year Georgetown University Television, the finest closer television channel in the land was starting on campus, and I realized, oh, that seems like fun. Alison Eakle:And my first show that I produced and sometimes hosted with Aaron Cocce and Brian Walsh, was it called G Talk Live? And I even forget all that I did. It was sort of a running gun, all hands on deck, but it's like a live call-in show, a talk show, panel show for the campus. And I'll never forget they were like, "Alison, do you want to host a very special episode?" And I said, "Of course, I do." About one of the most pressing topics out there, Dawson's Creek. So that was my big contribution, but I loved it. And I stayed with the television station all three years. And at my senior year, we sponsored like a film festival and the films were incredible. And you think back it was... I looked at a program I'd kept from maybe six years ago when I was moving and it's like, Zal Batmangli, creator of The OA along with Brit Marling, the two of them had made one of the shorts and contention and Mike Cahill and Brit Marling had also collaborated in a way that would pre-stage their collaborations on another earth. Alison Eakle:And it was kind of incredible because I look back and I see that drive. I see all of these people who actually were trying to carve out a space at a school maybe not known for people who are going to forge a path in TV and film doing so, but also it was like Mike Birbiglia and Nick Kroll, John Mulaney were all my contemporaries as well. So also seeing a real comedy scene evolve, I feel like again, very lucky and they're at the right time in terms of it was in the zeitgeists of again, getting to look at people really trying to forge that path in a way that I had not seen before. Chris Erwin:And then you felt, I think, empowered. It's like, I can do this. Like that screen writing class was a spark for you. It's like, fine, this is what I'm going to pursue. I came here for political science and different reasons, but that's now changed. Alison Eakle:Yeah. I'm so glad I decided to try it and listen. And again, at that point I'd let go of the acting thing, even though I would still occasionally act in like one act plays that friends would write or things like that. But I do think the acting informed the love of writing, which in turn, all of that feeds the work that I do now, essentially because I think as a creative executive, I do look at everything through the lens of, okay, I know what it's like to sit and stare at a blank page now with that cursor blinking and understanding kind of how do you generate something from nothing, how do you riff on ideas to try to get through a piece of writer's block, all of that. Alison Eakle:But I also approach things in terms of like, when I read a script, I do think to myself, do I want to play that role? Because I know that if I have that instinct of like, oh my God, I wish I want to say these words, I wish I could play that part, you're onto something at that point. That is a really good sign that somebody has created something worth making. Chris Erwin:Because you have an acting background, you can empathize with the words on the page and you could have a vision for how the words will manifest. Alison Eakle:It's almost like first, it's a different way that informs decision-making, right? Because in terms of creatively, the big question is like, what do you love enough that you would actually spend years of your life working on? And I think, again, that's one thing that goes, I can really appreciate when a piece of writing is going to appeal to an actor. Like in this business too, so much of it is who's going to fill this role, especially in TV so often if you're not going with an already established huge star, you need to find a person who can really become that role. Especially when there's a breakout hit and an actor has really been a part of creating that role with the writer, that follows them for the rest of their life. People always think of them in some ways as that person. Alison Eakle:So I do try to think of like, are there iconic roles in this that somebody would really dig into that would get me excited that way? And similarly, actually the writing piece of it comes into mind too, because if I read a pilot or something, but I found something worth pursuing and talking about it, if my head's already like, oh my God, I can see episodes, I know what I'd want to watch and want to see in the show, so that's the writer part of me thinking like, oh my God, if I had to pitch ideas for it, I could, that's really promising. So it's definitely stuff that that background I think does inform the work I do. Chris Erwin:Got it. As I'm listening to you, Alison, I'm hearing the passion come out from you. So I think you said you no longer act, but you really enjoy the table reads that you do with the Shondaland team. Do you think that there might be a future where you might see a script and you're inspired to be like, "You know what? I want to go do a one woman show. I'm going to join a small private troop." Is that something that either maybe you're doing now or that's like seated in your brain? Alison Eakle:It's something that I still do for friends. Like we'll still do writer's table reads together and things like that. I don't think I would rule out the idea of doing some kind of acting with friends on a project. I don't think it's going to be generated by me. I don't think I'm going to be the one to push it forward, but I think that if an opportunity presented itself, it would be really fun. And I actually love the idea of like voiceover, that idea of doing that kind of work too, because I give real actors steeped in their craft so much credit because the way you make yourself so vulnerable reading at a table read or doing a piece of voiceover where I can kind of hide behind, not be on camera and not be seen, that's more appealing to me now than leaving it all on the stage every night or really exposing myself fully on a show or a film and just emotionally, physically all of these things. I think that stuff's incredibly scary and every time I see actors go for it, I'm just standing out. Chris Erwin:Shondaland launched an audio business and maybe scripted audio is in your future. You could do some of that. You just- Alison Eakle:I'm going to ask Sandy Bailey if I can audition for some of those pieces. That's right. Chris Erwin:All right, cool. I want to flow into your early career, but so after Georgetown, you end up getting your MFA at UT Austin. So from there I think you go to New York for around six months and then you transition to LA if that's right. Tell us quickly, what was that journey from being at UT Austin, one or two key themes from that and then the beginning of your journey in Hollywood thereafter? Alison Eakle:I just was interviewed about my time at UT Austin. And I think the thing that's so crazy about it, that was a big takeaway was do not let your program define you because when I got there, it was just an MA screenwriting program. It became an MFA screenwriting program. But I think there was this kind of a mentality sometimes like we were the weird step-kids of like the film program, but also the really prestigious writing, the James Michener program that is for like novelists, poets, playwrights. So it's like a multi-disciplinary incredibly competitive workshop. Two years, they pay you. It was easy sometimes to feel a little less than, but then as time got going and I just fell in love with a couple of professors, I started like working on short films with people. I was a TA. Speaking of hanging out with younger kids and being a TA as a grad student, I can't tell you how many of my former students are also out here killing it and just absolutely running shit. Alison Eakle:And it blows my mind that I ever thought I could teach them anything like run indie film divisions of agencies. I really did start to just make my experience what I thought it could be as opposed to just be like, well, I'm just an MFA screen writing student. It was great. It was a great experience. I lived with law students instead. So that kind of exposed me to a whole different way of experiencing UT. They worked hard in the party tag, Chris, I will say that. That was my Austin experience. And I wound up working for Burnt Orange Productions, which is this company that had like a really cool experiment at hand where they were making low budget indie features like one was Elvis and Annabelle, starring a very young Blake Lively and Max Minghella. And that's the one, when I was there, they were making. Chris Erwin:So then thereafter, did you have a more specific lane of knowing where you wanted to go and what exactly you were going to do? How does that get you to, I think, was a pretty transformational role, which was at Paramount Vantage. Alison Eakle:It's so funny, but I really thought I was going to just be a screenwriter. My best friend, Ashley, who is now a show runner in her own right with her husband, she was finishing film school at Columbia. So the only reason I did that six months stint in New York was because A, growing up in Jersey and looking at New York is like the city. It just felt like I have to live in New York at some point. And so many of my good friends are there, I just want to have that experience. So I thought I might stay, that there might be a way to make it work, but New York is hard and expensive and it's even more so now an impossible place to live. But even in 2006, it's like, I'd worked Monday through Friday as like an assistant in an advertising agency and then Saturdays and Sundays, I would like go to Bronx Science and other schools in the city to teach SAT prep. Alison Eakle:So I was truly working seven days a week and still hardly getting by and I didn't even have to pay rent because I was just crashing with my friend. Her boyfriend, now husband, had moved out to LA in kind of October of '06 and we started processing and thinking about it could we really make this trip? I'm like, could I really break my mother's heart and move across the country? And eventually realized that if this is really what we wanted to do was to be screenwriters, it really did feel like we had to be in LA. And so we did it together with her two cats and her two goldfish and a Toyota Corolla. Chris Erwin:Two women, two cats, two goldfish, two Corollas. Alison Eakle:Yeah. Two of everything. One of the cats shit himself as we were crossing Arkansas. And there was a very uncomfortable gas station interaction with some locals and that cat and trying to get that cat out of the carrier of the car, but look, all worth it. The two fish died immediately when we put them in LA water, a very foreboding omen. New York was just, I knew in some way I wanted to get a chance to have an adventure with Ashley, collaborate with her potentially and we wound up moving out to LA together. Chris Erwin:Similar to you, after graduating from school in Boston, I was like, "Yeah, I got to go to New York." That's like what... You're in the tri-state area, big exciting visions. And then the fact that I can go down to the shore and see my family on like an hour train ride or the ferry that had just started to emerge. And I got stuck there for five years in finance. So you only got stuck for six months, I probably took like 10 years off my life doing finance in New York City. But you got out and so you make the move, you get to LA and then you end up at Paramount Vantage and you do a few things before that. Alison Eakle:And one really formative job. So basically I get there, I go to a temp agency my show business actors aunt had connected me with and I'm like, "Let me do a typing test. Let me show you I can use Excel." And I got a job that was temp to perm, potentially assisting a woman named Nancy Gallagher, who was an EVP of marketing at Paramount Pictures. And this woman was like close personal friends with Steven Spielberg and Joel Schumacher and Tom Cruise. Like she had done marketing campaigns for movies that had shaped my teen years, like Clueless and Titanic. Like I lost my mind when I realized really the impact she had had. She was also incredibly old-school, did not use a computer at the time. It was a kind of a wild experience. I would be there 8:00 AM to 8:00 PM. I would never leave the desk. I would take dictation. I would read her an email she got. She would dictate an answer back to me and I would type it back to the person. Chris Erwin:This is 2007? Alison Eakle:Oh yeah, don't worry about it, Chris. But she was incredible. I mean, she was an incredible talent. She just was sort of like had not kind of embraced that part of the job and was just deep in the creative. I mean, again, I got to meet so many impactful, incredible filmmakers, like Calvin Kennedy, we had four movies that we're marketing. It was a real learning curve for the almost two years I did it. And that classic, first Hollywood job, like don't screw up that phone call from Scott Rudin or whatever it is. Like there were those moments consistently. And I was scared out of my wits until I wasn't. And eventually I was just like, I would see the kids in their suits come in from Yale to take my job since I was just a temp and interview and I was like, "No, no, no, no, fuck it. I'm going to keep this job." It almost became like a challenge to myself. Alison Eakle:And I think being able to stick it out and succeed there, even though I didn't want to do marketing, and on that desk is where I realized I never have time to write and I'm never making time. And people who really want to be writers, they make time. They get up at 6:00 AM and write for two hours before their desk job. And I was not doing that. So I just realized I think I found out there was a thing called development, which is basically what I loved about writing most was workshops like working with writers, not being the writer and started to try to think about how to make that transition. Chris Erwin:Got it. Look, I hear this from a lot of people who work at the agencies like pretty early on is that it's really exciting in the beginning, but it's also painful, the work, the stress, a lot of bad bosses, it turns people out and they leave Hollywood. But when you were there, did it feel like you're just getting more excited, but you're like, but I'm not in the role that I want. Like what you just described as like, I want to get into development. So I feel good about the industry, this is hard, but the stars in my eyes, they're still real and they're not going away. Is that right? Alison Eakle:Yes. I think I am at some level, again, like a pragmatist. There's always competing parts, right? There's the creative and the pragmatist and the pragmatists was like, you have a job that pays really well in a business that doesn't, you have overtime, you have health insurance, I was just like, keep doing this. And again, I love the challenge of a professor or a boss that's incredibly difficult to impress. So I love that challenge. And I learned a ton because honestly the biggest lesson of marketing is like, don't create something you don't know how to approach an audience with. You need to know who this movie or this show is for and obviously there's always a pleasant surprise when it kind of broadens out past that, but that was really drilled and it's like, what does the poster look like? Alison Eakle:Because we would get scripts and movies that we had to market. And we would look at each other what is this about? How did you sell this movie? And I will not name names, but it was incredible to see it from that other end. And that was the boss. She was incredible in teaching me like Alison, as an assistant in Hollywood, your job is to assume no one else is doing their job correctly, which is a terrible place to live for a long time in terms of that is so fear-based. But it is also a way to I learned how to anticipate what could go wrong or how to kind of shore up and idiot proof certain processes in a way that I do things still serves me to today. Chris Erwin:Hey listeners, this is Chris Irwin, your host of The Come Up. I have a quick ask for you. If you dig what we're putting down, if you like the show, if you like our guests, it would really mean a lot if you can give us a rating wherever you listen to our show. It helps other people discover our work and it also really supports what we do here. All right. That's it everybody, let's get back to the interview. Two points that I think are interesting. Alison, you described as being able to anticipate what could go wrong or sit at corners, we had Chas Lacaillade interviewed on this podcast, he now runs a digital talent management company called BottleRocket, but he said the same exact thing he was at ICM. He's like, "The one takeaway I have from that is you can always anticipate what's going to go wrong in a deal, a conversation, a client meeting," and he found that very valuable. Chris Erwin:The second thing I think that you said, Alison, that I really like is how to market and how to approach an audience. So I think today where media has changed, where they used to be fixed supply, if you can get theatrical distribution, you're going to win. If you're going to get on like a TV network, you're going to win. But with the internet, there is so much content out there even if you're like putting up content on Netflix or you're putting up content on YouTube or in some like digital, native way, your content has to stand down. And the marketing campaign that wraps the actual content itself, how you speak and engage and excite your audience, that is where the winners are today. So the fact that you have that lens from your history, I think is really interesting. Alison Eakle:You put it better than I ever could, but that all tracks. Yes, that feels right. Chris Erwin:So you realize you're not having the amount of time you need for writing, so you've got to change it up. So where do you go? Alison Eakle:I saw a job opportunity to assist the director of production and development at Paramount Vantage. What I'll never forget there was the current assistant had put out a job posting and how this works in Hollywood, for anyone who's listening and doesn't know, is you'll see jobs on things called tracking boards or emailed chains basically. But they always say, "No phone calls, please. Do not call me. Just email your resume." Right? And I was like, okay, this job is on the same lot, I'm going to call him. And I did. And he was so incredibly lovely. Colin Conley, he's still in the business, an incredible manager. And I just called him. And I was like, "Look, I did not come up through the agency. I don't have the required experience, but I swear to God, the desk I'm on is harder than any agency desk you can imagine. And I'll tell you why if you meet me for like 15 minutes." Alison Eakle:So we did, we literally met in the middle of the lot at Paramount. And he was like, "You know what? I think my boss would like you." And he was leaving to go work at the Sundance Institute, fucking cool as hell. And I tried not to be too intimidated. And I met his boss and loved her. And the only weird thing about that experience was when I did get the job, three weeks into it, most of Paramount Vantage was let go. They were downsizing all indie studios at that point. And I was like, oh my God, I just took a pay cut and a huge risk to take this job and now I'm going to get fired. That was all that went through my head is like, we're all going to get laid off, but I don't know what happened, but for eight months, some of us still hung on. Alison Eakle:And I learned so much about future film development from my boss, Rachel. And then we were all let go. Then it really did. The hammer came down in July of 2009. John Lynch left as the head of the studio of Vantage was done. And another colleague of mine who used to be at Vantage got me my next job just assisting a production exec at Sony Pictures, Elizabeth Kentiling, who was incredible. And the experiences were so different because at Vantage, I learned a ton about development, but we never got to make anything because essentially it was like, you already saw the writing on the wall. You knew it was only a matter of time to some extent that you were going to be shut down, which I've never had an experience like that since. It is sort of freeing, because I was just like, well, I'm going to learn and do as much as I can while I'm here. Alison Eakle:And then at Sony, it was the opposite where it was like, there was development happening on scripts so I was there, but my boss was making movies. Like I always watched her oversee Social Network and Girl With the Dragon Tattoo and got really a firsthand view of like how that side of things works when stuff is going. So it was incredibly valuable, but the whole time I'm sitting there thinking, okay, I'm still an assistant, I'm 30... How old was I at that point? Probably 31. Again, wasn't acting, wasn't writing, wasn't really an exec. I would go to drinks with other assistants and them not knowing how old I was would be like, "Oh man, if I'm still an assistant at 30, kill me." Chris Erwin:It's interesting you're saying this because I was reading an interview that was done with you. Asked like what's the worst advice that you can receive or that you have received? And you said something along the lines like, oh, if you're like an assistant or haven't figured out your career in Hollywood by the time you're 30, it's over. And that's BS. That's not true. And so I think this is clearly where that's coming from. Alison Eakle:Oh yeah. And trust me in the moment I was like, maybe it is true. Like I'm not impervious to insecurities. 100% I was like, I've given all this up, I've left my family, I've moved to LA, did I make a terrible choice? Is this right? But there is such a thing where you just got to stick it out and you keep learning and try to keep growing and then the next opportunity will find you. I totally flunked out on my first creative executive interview in the Future World. And I just was like, oh man, this other junior exec at the movie studio got me this opportunity and I just said stupid shit and I blew it. But then a friend of mine from my Paramount Vantage days, a friend who had worked at Comedy Central while we were doing the Comedy Central branded movies and I really loved, was like, "My old boss from Comedy Central is starting a company for Ellen Degenerates, would you ever want to go be the assistant/exec?" Alison Eakle:And it was primarily television, both scripted and unscripted, not movies, not the big sexy thing at that time that I was still like, no, no, no, you got to work in movies. But I was like, I fucking love television. I raised myself on television. Let me tell you, I jumped at the chance. And again, I was still answering phones at that point technically, but I was like a coordinating manager. So I got to be in the meetings and watch how it happened and take meetings of my own. Chris Erwin:This is A Very Good Production, that's the name of the company? Alison Eakle:Yes. That's A Very Good Production. Chris Erwin:Okay. Alison Eakle:And look, I probably did that classic thing that I think a lot of women do where I didn't think I would feel ready to go from assistant to just exec. That is where I second guessed myself a bit. And so I loved that idea of like a hybrid opportunity, but I also couldn't have learned from anyone better than Lauren Carrao as we were building that company from the ground up with the deal at Warner Brothers. Chris Erwin:Got it. Wow. So Alison, I want to get into now your rise at Shondaland, a company that you joined back in 2013 and where you're still at today and interesting juxtaposition. So I interview a mix of technology and E-commerce, but also media executives on this podcast. A lot of the technology executives I interview, their career rise starts a lot earlier, right? It's like the difference. But in media, a lot of the people that I've interviewed, it takes a bit longer. You're joining Shondaland I think in your early 30s, but you've had an amazing run over the past almost a decade. So I'm curious, how did you first end up there? Alison Eakle:Truly going back to my doomed, but learned a lot moments of Paramount Vantage, it was my boss there, Rachel Eggebeen. She was the first kind of creative executive that Shonda and her longtime creative and producing partner, Betsy Beers, my other boss brought on and into the company when they'd had their deal through ABC. They'd been making Grey's Anatomy and Private Practice and a few other pilots that had knocked on to series. But I believe as Rachel came on board, they were making the Scandal pilot. They had expanded the company and around the time that I was ready to move on from a very good production in terms of trying to get kind of my first either producing credits or full exec job, whatever that next move was going to be for me, I reached out to Rachel and I said, "What do you think I should consider? You're one of my favorite bosses, favorite people, favorite friends, what do you think I should do?" Alison Eakle:And she said, "Well, interestingly, Shonda and Betsy are thinking about expanding the work they're doing and hiring another person. And your background in comedy could be incredibly useful and important part of the mix given they're starting to do more of that." When I came on board, they'd already been developing a pilot with Issa Rae, actually for ABC. Ultimately didn't move forward, but was one of my first experiences as an exc. It got to be me and Issa Rae in a room, sitting on the floor, working through a pilot and I will never forget it. And it was incredible. And I loved every second of working with her. Chris Erwin:Speaking of Issa Rae, so I joined the whole YouTube revolution in 2013. And I remember we were launching different like digitally native verticals. Issa Rae came in and pitched a show with her creative partner. Alison Eakle:Oh, no way. Chris Erwin:Yeah. Early days. And now look at her, she's a phenomenal. You shouldn't make a fuss. Alison Eakle:Talk about a rise. I feel silly calling what I've experienced duress in light of Issa. I mean, just and so earned and so deserve. Like with the pilot was called, I Hate LA Dudes. And that was very much my mindset while we were working on it. But I would meet my husband just a few months after we finished up with that and I reversed that decision. No, it was great to kind of come on board. And look, I was, again, nervous, that imposter syndrome thing is hard to shake. I'm like, it's my first executive job, I am a fan of these shows of Grey's Anatomy and Scandal. Scandal season one and like half of season two had aired when I started. And that jump is a big jump in Hollywood when you're first like really not answering the phones anymore. I didn't have an assistant, but I wasn't an assistant. Alison Eakle:And I got to develop like my first comedy from the ground up with these writers Petrossian Goldstein that came partly from like an original idea I had just by like being like, fuck, okay, what do I want to see in the world that I don't see? What do I want to watch on TV that's in my life and I don't see reflected? And we came up with this idea of what if your friend was dating someone terrible, just absolutely the worst. You wouldn't want to spend brunch with this person. And then they show up one day early in the dating and they're like, "We're having a baby." And I had pitched this idea of like, that would be the friend groups worst nightmare, but a lot of it would be not so much about that girl who kind of enters the group, but really about you and what you're going through emerging as a group of like 20 somethings into your 30s. Alison Eakle:And then when we pitched this idea to these other writers, they had had an idea of what had happened in their friend group, which is one of their really close friends had passed away. And that guy's parents had sort of become the parents of their friend group. And we wound up having this incredible meeting where we realized we could merge these ideas. And it was just one of those first experiences where Betsy and I were in the thick of it and I realized like, oh, this is it, this is what I wanted this to feel like and be like. I love the idea that I can have an idea, writers can make it better and bring their own experience to it and then I get to watch it just evolve. Alison Eakle:And it was such a well-received comedy pilot that at the very last minute we did not get to make it, but it was a great first experience in that first year at that company of like, A, I love this, B, I love why I'm working with on these projects and C, maybe I'm not terrible at it. Like that first moment you're like, oh, I should keep doing this. Which I think a lot of people don't talk about because I think you're supposed to pretend that you're just like a girl boss from day one and always had the confidence, but no, I mean, it truly took going through that first experience to be like, okay, I deserve to be in the room. Chris Erwin:Amazing. So very early on, everything felt right to you. This is the right team, this is the right role and did you get a sense that it's like, hey, this is a company I can be at for a really long time. Alison Eakle:I was like, hey, I hope they'll have me for a long time. Again, like even with the successes, I think there's always a moment where you're just like, what's the next thing I can do? Like I want to continue to earn this spot or earn their respect. And the other thing I just sort of lucked into was that at that same time that we were doing that comedy, we had six other drama projects in development, how it works as you sell ideas in pitches to the networks and then the writers write the scripts and around Christmas time, these networks were just in the network side, they would decide which ones they were actually going to shoot. And the one that they decided to shoot was How To Get Away With Murder. And so then even though my comedy pilot, that experience hadn't borne fruit in terms of being shot, I got to see that show be born and come to life. Alison Eakle:The other thing that happened in those first eight months I was there was that Rachel did leave Shondaland to go to another job at Fox 21, which is a studio. And again, I was terrified because the person who brought me in was gone and I was still getting my sea legs, but Betsy and Shonda were incredible. And I learned so much from them. And I got to all of a sudden just not limit myself to being like, hey, I'm the person who's here to do some comedy and I got to experience what it is to develop dramas and realized I loved that too. Chris Erwin:You mentioned it... Again I saw on an interview that you had like a handful of promotions within the first four to five years that you were there. Alison Eakle:Yes. Chris Erwin:So what did you feel that you were doing at the company that started to really stand out and have you get noticed? Alison Eakle:I was kind of the only one for a while. I feel like I don't know what I would necessarily pinpoint. I'd be interested to hear Betsy and Shonda say it. I think one of the things was not only did I have the things that I would get excited about and bring to the table, but I think that Shonda's excitement and Betsy's passion are really contagious. Right? I think very early on I realized, okay, they have fucking genius ideas. I can execute that. I can take that. I can run with it. I can get some progress going. I can find the writer. I can work on the vision of the writer. I also loved the fact that we had this incredible community of writers that had come up on all the Shondaland shows. So I think I really just threw myself fully into trying to make projects with them work and support them. Alison Eakle:And I think there's also a little bit of magic sometimes when taste and instincts lineup, the rest of it is sort of just to do the work, especially those early days. To this day, even after I've had a kid, which we'll talk about, I've never not worked on weekends, I've never not worked at night. Like even when I'm not working and I'm using air quotes, my brain is constantly going in terms of how to fix issues or how to approach strategically certain projects. And I think that they must have responded to it. Chris Erwin:Yeah. Because I think to you it was clear as it's not just work, this is a passion. It's like part of your essence. It's having like a creative mind wanting to support the creative community. I think like you were saying with Shonda and Betsy, you have this reputation where you could take an idea that they have and really nurture it and build it and make it even more special. So there's this trust that they're bestowing on you, but they really appreciate new ideas that you bring to the table. So then, okay, there's an exciting moment. You're there for around four years, 2017, then there's the big announcement that Shonda is leaving ABC for Netflix and what was reported to be, I think, the range is up to $150 million deal. What was that like? Was that something... Had you been working on that for a while? Was that something that you knew of? Was that something that was just dropped on you? What was that like to receive internally? Alison Eakle:I did know a little bit before the announcement came, I just was over the moon excited in terms of it being such a new learning opportunity for me, right? I know Shonda and Betsy had their excellent reasons for making that transition at that time when they did. Strictly speaking from my experience of it, I was just so interested in how different that could be, what restrictions would be lifted when you suddenly don't have to make television for network to fit that 42 minutes of a drama episode to kind of deal with broadcast standards and practices. But also just the idea that I think once we went to Netflix, it probably did also, at least in my opinion, as I spoke to people in the industry, it started to broaden their ideas of the kind of shows we made sometimes, sometimes not. Sometimes they'd still come to us and be like, "Here's Grey's Anatomy, but in a funeral home." Like they would still do that too, but there was a lot of people understanding that now we were going to do TV and movies. Alison Eakle:We could do comedies. We wanted to do genre. Like I think, especially by the time we were able to announce those first things we were working on kind of a year into the deal, it did make people understand that while they often thought of us in terms of, I will use the quote, sexy soap or serialize procedurals, the ambitions were so much bigger than that. And to get ready because we had a lot of things coming that you would not be able to do on network. And that was really liberating and exciting. Chris Erwin:Did everyone feel that same way? Was there anyone internal on the team or within your writer community that was like, "You know what? I want to work on network programming and going to a streamer is not a place I want to be." Alison Eakle:If that was happening, it was not something that I was privy to or that people were coming to talk to me about at all. Everybody was like, "I can't believe this. I'm so excited." And we're moving into new offices and all. It was just felt like a real thrum of excitement. And look, I think to this day, there are still writers who appreciate the consistency of a network job, but the whole business has changed. This is a conversation for another time in that residuals are not the same anymore. And there are so few shows like Grey's and Station 19 that can go that many episodes a season. Whereas writer you know you're booked kind of like August to April or whatever it is, I do think some writers probably miss that and will gravitate towards that kind of structure, that storytelling, all of that. But I didn't experience anyone being like, "Ooh, Netflix," at all. Chris Erwin:Okay. And maybe look, I think there was a lot of excitement at the moment. Was this announced right after Ryan Murphy's deal? I think he announced like a $300 million deal, was that- Alison Eakle:We were the first. Chris Erwin:You were the first. Alison Eakle:Shondaland was the first. Yeah. That was the first deal for Shondaland was the first of these big star producer deals. And I think Ryan Murphy, Kenya Barris, a few others came in like quick succession, but it was the first big announcement like this. Chris Erwin:Clearly it's working, right? So there's the big 2020 hit with Bridgerton. And then recent news, there's a re-up between Atlanta and Netflix are reported or confirmed or reported up to 400 million, but what was it like in that moment when Bridgerton which I think is the number one performing show on Netflix today, when that hit and your team started to get some of the success reporting, what was that feeling like? And were you involved in that show at all? Alison Eakle:Oh yeah. So I am a co-EP on the show and moving forward into seasons two, three, and four, I'll be working on it. It honestly was something where I still remember the day that Shonda was like, "There are these romance novels that are absolutely incredible. They would make a great show." I will be the first to admit I was like, "Romance novels, like grocery store paperback romance novels?" The genius that she is she's like, "Just read them. Just read one. Read The Duke and I." Which is the first book and is what season one is based on, the Simon and Daphne's story. And I read it in like one sitting, definitely started blushing about like 80 pages in for sure, but immediately I was like, oh, I get it. I get it. I understand the conceit of how this works for many seasons. I get why there's such a huge under-serviced fandom of this material. And they have not gotten to see some of their favorite stories brought to the screen and shot. Alison Eakle:It was so smart because she knew that people would clamor for that. And that audience had just not gotten to see those characters come to life, but also that there would be a broader reach. And also I think that it was such a surreal experience for me. I was incredibly pregnant. It was Christmas time. We had done post-production in COVID entirely from our homes remotely. Every music spotting session would be inimitable, Kris Bowers. Like all of it had been done remotely, all the posts. So it was like being in this kind of strange bubble and just sitting there as the holiday started just wondering how it would be received. And I don't think I could have ever anticipated what a mark on the culture it would have. Chris Erwin:I didn't even start thinking about the opportunity to romance space until Sarah Penna, who is one of the co-founders of the Big Frame where I was at right after school. And she had an idea that I think she's still working on with Lisa Berger called Frolic Media focused on, I think it's in a podcast network and digital video programming for female romcom romance enthusiast. And when she started telling me some of the numbers of how big this demo is, I was like hearing the success of Bridgerton, I am not surprised. So a new Netflix deal's announced and here's some exciting things like a focus of film, games, VR, branding, merchandising. There's a larger team from Bridgerton Ball that's coming up in November. So it's really extending your work streams and creating an audience experiences into a lot of new channels. Where is Shondaland today and where is it headed? Alison Eakle:The other side of the company that is the digital side, that is the podcast, the website, whatever shape and form this gaming and VR enterprise is going to take to it is incredibly exciting and I think a huge part of how my perspective on my job has shifted. And look, I've gotten to experience people often say like, "How have you been at a company for eight years?" And I was like, "This company is always evolving. The opportunities are always evolving. The work we're doing is always shifting and changing and growing." And it's part of why I was so excited to work with Shonda and Betsy in the beginning because I knew they had these bigger plans, right? World domination through incredible storytelling, very appealing, but I'm just really always trying to think to myself too synergy. Alison Eakle:Are there opportunities of things that we're working on that could translate to the podcast space or there could be a great story on the website about it and thinking more actively how do I talk to them about that and tell them about it before it's too far down the pike or vice versa, what are they working on that could be the next great show for Netflix or first documentary came out right before the holidays as well around Thanksgiving, Dance Dreams: Hot Chocolate Nutcracker about the life and legacy of Debbie Allen as seen through her kind of like planning and staging this incredible her version of the Nutcracker? Alison Eakle:So we have a real hunger to do unscripted, both doc series, lifestyle, reality shows, things like that, the right kind of thing for the right kind of audience, the thing that we think will appeal to our fans and the people who love our material, but also Inventing Ana is going to be out soon, which is Shonda's next show that she created based on the incredible cut article from Jessica Pressler, how Anna Delvey tricked New York's party people about the Soho grifter, who basically found a way to make all the finance bros in New York and all the art people and all the fancy pants people in New York who believed she was a German heiress. An incredible kind of fake it till you make it American dream story from a very slanted interesting perspective. Alison Eakle:So I'm really excited for that show to hit and to launch and for people to see that it's a limited. That's like the next big thing on top of the fact that we have announced through Bridgerton season four to really get to service the Bridgerton's children's love stories. We've got a lot of story to tell. And then Shonda's next project is a project based on the life of young Queen Charlotte, who obviously is someone we featured heavily in the Bridgerton series. So that's some of the scripted coming down the line. We do have feature films in development. We have a lot of different genre TV shows that I don't think people would be necessary... Again, always trying to broaden the idea of what people think of as a Shondaland show, which is just incredible unexpected storytelling that has an incredibly human lens. A lot of different things coming down. Chris Erwin:All this program is going to be exclusive to Netflix, is that right? Alison Eakle:Yes. Exclusively in Netflix. Chris Erwin:Looking at the Shondaland website yesterday, and I saw the 2017 partnership with Hearst where you've launched a lifestyle website. You have this January, 2020 audio partnership with iHeart, where I think you're creating companion content to promote some of your series, but also maybe seeding some new IP, which is definitely a theme that we talk a lot about here at RockWater. But these are divisions that are separate from your purview, but you want to collaborate and you want to work together. And I think that'd be an awesome thing to do more of in the future. I'd love to see that. Alison Eakle:Oh yeah. It's a top-down mentality the idea of like, no, no, no, you guys, you're not just making content for Netflix and you're not just making content for Hearst to iHeart, this is Shondaland. This is a united family of people figuring out how to tell stories best. Chris Erwin:Last question, Alison, before we get to the rapid fire round. So you are a mother of one who is five months old. Alison Eakle:Yes. Chris Erwin:When you say you work nights, you work weekends, how does that change with a kid at home not just in terms of like time capacity, but also just how you think about your programming and where you want content to go in the world considering that you're raising someone new in it? Alison Eakle:That's a great question. I think I'm so in it right now. It's all still so new. I don't know yet the impact it'll have on me. And look, animation both for adults and children is something we've talked about a lot and gotten excited about that kind of programming. I'll be honest, I binge-watched the Babysitters Club with that best friend, Ashley, who we moved out here from New York together. I think there's incredible content for kids. I don't think my brain has fully processed yet how having this child is going to impact my creative work, but I do think it has changed how I work and yes, I just have less time right now because every minute I'm not with him, I inevitably am wondering, am I missing it? Am I missing something? Right? But I also realize there's a lot of time that he sleeps, not in the beginning, but now there is. Alison Eakle:And it's interesting how I think I used to be a real... I do get up very early with him and I do do great work in the morning, I feel, but I've really also become that person who eight o'clock hits and I take a minute for myself, but I do think to myself, okay, I have quiet. I have a couple of hours of quiet before I hit the, hey, how am I going to use this time? So I think I've just gotten smarter about time management and realized that like I can be sitting there rocking my baby, playing out, what kind of thoughts or how we might re-break a pilot in my head. I've just gotten a little bit more nimble in terms of how I use the time I have. Chris Erwin:I like that. And kind of what you are saying, Alison, reminds me of like the classic high school Adagio. If you have a really busy schedule, like a bunch of high school sports and everything, it just forces you to be more productive to get your work done in the time that you have and you're better. And then second, I think it's this beautiful new moment in your life that's giving you incredible new fulfillment and appreciation for what matters and it's a shock of the system. And I think shocks and changes are good to see things in different ways and that's good for creativity. You've had an amazing rise, who knows where you're going to go? Alison Eakle:Who knows? Chris Erwin:I'll close this out a quick interjection for me before rapid fire. Alison, known you for a long time, but admittedly have not been in close touch in recent years. So it's been exciting that we can come together I think at a dinner that I threw a couple of years ago, but also through this podcast. And I think just hearing your story, what I love and what feels so special is I'm hearing that there was no fear of trying things, of experimenting, putting yourself out there and following your heart. There was moments where like, look, growing up in Rumson where we were, your parents from Wall Street, I ended up going to Wall Street. Like that's what I was inspired to do. And you, I think you said, "No, there's something else that I want to do and give it a go." And then you went to Georgetown, you thought you were going to go down the political science path, but then you had that amazing class and you went with that. You trusted your gut. Chris Erwin:And I think you being able to listen to yourself and set up a very exciting career for you and an ability to do programming that's really a meaningful impact on people's lives and look at the success of Bridgerton and more to come. So it's really fun to see this journey and reflect on it. And I can't wait until we do the second podcast, which is like on this next page. Alison Eakle:Well, thank you. And thank you for having me on too. And also right back at you, it's watching an evolution of a career that's not in Hollywood always fascinates me a lot more than even watching the stuff inside the industry. I love everything that you are doing and juggling right now too. Chris Erwin:Appreciate that. All right. So rapid fire. Here's the rules. Six questions, short answers. It could be maybe one sentence or maybe just one or two words. Do you understand the rules? Alison Eakle:I mean, I'm a wordy mofo, but I will try to keep it to the one sentence or the one word. Chris Erwin:Okay, here we go. Proudest life moment. Alison Eakle:Navigating the return to work after having my son and not absolutely losing my mind. Chris Erwin:Got it. What do you want to do less of in 2021. Alison Eakle:Judge people. Chris Erwin:What do you want to do more of? Alison Eakle:Acts of service. I feel like I got away from that during COVID. Yes, acts of service. Chris Erwin:I like that. One to two things drive your success. Alison Eakle:As you said, willingness to try things and to experiment. And I think also a willingness to really listen to people and figure out what they want. Chris Erwin:What is your advice for media execs going into the back half of this year and into 2022. Alison Eakle:Now that I have a kid and less time than ever, I'm all about essentialism. And I think people have to remember that sometimes less is more, less is more. That's what I'll say. See, trying to be shot. Private is the sour word. Chris Erwin:Saying less is more and trying to do it in short with fewer words. Got it. Considering your parents entreprene

This week: new Nas, new Ty Segall, and (near) new Faithless.  Also: times of chaos, firehose creativity, the 33rd best band of the 90s, Gen X are worse than boomers, parental fails, non-Noonans, cultural touchstones, Jack Johnson tribute acts, insomnia cures, ivermectin doesn't work on earworms, floral arrangements, rotting tennis centres, Nike knockoffs, made in the sunshine, collaboration cancellations, Ford Fiesta racing, live to tape, Glasgaw chverchves, one-man bands, becoming overinvested in 2016, late night veganism, you had a good go at it thanks for your input, lockdown fields of view, 1989 Corollas, Mad Monday on a Tuesday, Jimmy Anderson won't go away, Mosgiel slander, Knuckles Colony and chilled-out Tunes.  Next time: new albums from Fat Freddy's Drop, Cam Cole and L'Orange x Namir Blade. Recent review albums are in our current album review playlist on Spotify, with earlier stuff in our 2021 review archive, along with our 2021 tripping balls mixtape featuring our favourite tracks from new albums we've reviewed this year. The full list of all the albums we've ever featured on the show and Beeso's playlist for his boys are also available elsewhere on the internet. BALLS and tripping balls are available on their own RSS feeds, as well as being found together on Omny Studio,Spotify and Apple Podcasts. See omnystudio.com/listener for privacy information.

Tesla vende un montón y nuestro superhéroe se hace con 10.000 millones de dólares por cumplir con los objetivos planteados a la junta. Tesla es rentable, pero no por sus coches: el truco de Bitcoin y los créditos de emisiones Elon Musk Made Tesla Some Money on Bitcoin - Bloomberg Tesla is now sitting on $2.5 billion of bitcoin Tesla Model 3 becomes best-selling premium sedan in the world - Electrek Tesla publica sus resultados económicos del primer trimestre de 2021, superando las expectativas de ganancias | forococheselectricos Elon Musk afirma que el Tesla Model Y será el coche más vendido del mundo en 2023, superando al Toyota Corolla | forococheselectricos Elon Musk presentará Saturday Night Live - Gente - Cultura - ELTIEMPO.COM (3) E.W. Niedermeyer on Twitter: "Tesla has made this exact claim a few times. 2012: https://t.co/xz7wLpKoGf 2013: https://t.co/SslnUNfgoz 2017: https://t.co/6d9DPylisW 2019: https://t.co/xeCgkyWb8E The 100% solar Supercharger network has been "coming soon" for even longer than "Full Self-Driving"!" / Twitter ELON está presentado por Matías S. Zavia (@matiass) y Álex Barredo (@somospostpc). Su tema original está compuesto por Nahúm García (@nahum). — Alojado en Cuonda (@cuonda)

Guest: https://www.instagram.com/ryan_jerome1/ Logo: https://www.instagram.com/kyle.doody/​​ https://www.kyledoody.com/ More Bobby Palermo Instagram: https://www.instagram.com/rjpalermo/​​ More Causing Confusion Podcast Instagram: https://www.instagram.com/causingconfusionpodcast/?hl=en more to come... --- Support this podcast: https://podcasters.spotify.com/pod/show/causing-confusion-network/support

When car companies have a sedan and a hatchback, they're often very similar, certainly at the front and the sedan is often just a fairly pedestrian sort of vehicle at the back. Now, it's just been driving some of the Hyundai's i30s a very successful little car in the small car category, along with things like Corollas. Now, the hatchback, it's been in here for a few years, looks fine and went well. But then, as I was about to swap to the sedan, and it looked just so different. Why? Bill Thomas is the general manager of Hyundai's public relations. Subjects covered include: • The sedan and hatch are different models altogether (0:52) • The design style for the sedan “sensuous sportiness” • The evolution of sedan style (3:21) • What is the split between sedans and hatchbacks (5:03) • The dashboard in the sedan is digital – how are the customers responding (7:33) • Being upfront about what the automatic emergency braking will and will not do (8:23)

George and Colin play musical cars, meanwhile Mike's life turns into an utter disaster because he bought Corollas.

A Stock está de volta! No episódio de hoje, saiba como foi a estreia dos Corollas em Goiânia, entenda o problema de superaquecimento que atingiu alguns pilotos e ainda escute como foram as vitórias de Ricardo Zonta e Rubens Barrichello. --- Send in a voice message: https://anchor.fm/daerodinamica/message

OG member of Club4ag VitriumGTS joins us to talk about grassroots drifting, the price of Corollas, and CA emission inspections and vehicle legislation.

Primary Health Services have been referred to as the poor cousin of hospital services… but have you ever heard what Primary Health actually refers to? On this episode of Health Speak Penny Terry walks into a building that is the base for heaps of different health services that are available to you in the community. She finds out what Primary Health really means, meets Nurse Practitioner Meredith Prestwood and gets the low down on one innovative program that uses Corollas and backpacks to keep people out of hospital… literally.SHOW NOTES:You can find out more about the program Meredith is part of - the Community Rapid Response team - here: https://www.dhhs.tas.gov.au/ths/community_rapid_response_service_comrrs/community_rapid_response_service_brochureIf you want to find out about how Primary Health Care services operate in Australia you can find some details herehttps://www1.health.gov.au/internet/publications/publishing.nsf/Content/NPHC-Strategic-Framework~phc-australiaYou can also search online for Primary Health Care services in your region or state for more locally specific information across both the public and private sectors.

Introducing Pressing For Flight, a show by some friends, who happen to be Space Coast locals, talking about space stuff. In our first episode, we talk about why space is our thing, hurricane prep, Ms Chief, Starhopper's last hop, and more.Watch the original video of the show on YouTube and don't forget to subscribe.https://www.youtube.com/channel/UC1D1h9rRsmciPwRA0hcXeKg See acast.com/privacy for privacy and opt-out information.

It's time for the first ever Hello Road Q&A episode. Let's talk Yugos, Nova Twin Cams, old Corollas, and beer! Thanks to everyone that submitted questions, they were thought provoking and fun to answer. We only got through half the questions, so we'll post a bonus episode with the rest later this week. 

Why does everyone like SUVs so much? Christopher C. in Shreveport, La. bought a car he loves, and the guys have touched on SUVs, but never this much in-depth. Dayron in south Florida is letting his Mustang go, and needs a large fun commute car. Social media questions include discussion about legislation around electric and autonomous cars in cities, hooning Corollas, and when is the best time to sell a car? Pilgrimage 2019 is open for reservations! Join the guys in Germany and Belgium for their annual bucket-list driving adventure at the Nürburgring Nordschleife and Spa-Francorchamps tracks, with details found on everydaydriver.com. Season 4 TV is also now available on Amazon Prime and Vimeo worldwide. Please rate and review the podcast on iTunes, the Everyday Driver show on IMDB and Amazon, and write to us with your Topic Tuesday discussions and podcast debates at everydaydrivertv@gmail.com or everydaydriver.com. Thanks for listening and share the podcast with your fellow car enthusiast friends!

For a milestone Episode 350, the guys tell stories of their latest shoot, and discuss all car-related questions from social media. They talk about tires, design, steering feel, annoying car mods, stereotypes, full-size SUVs, dorkiest cars currently on the market, driver aids, Corollas, various trim levels, and cars they envision owning in their future… Thanks for listening, and please rate and review the podcast on iTunes, and the show on IMDB and Amazon Prime Video. Tell a car enthusiast friend about the Car Debate!

For Topic Tuesday, the guys discuss innovations they think are most important in car design over the last 50 years. Of course, it’s all subjective and opinions can change, but they bring perspective that relates to driving feel, safety and technology. John M. in Northridge, CA is craving a new Corolla, bringing up the subjects of traffic and best commuter cars. Finally, social media questions debate the merits of turbos vs. superchargers, what car company the guys would choose to take over and align with their EDD mission of helping people, and the popularity of safari 911 builds… Please rate and review the podcast on iTunes, the Everyday Driver show on IMDB and Amazon Prime Video, and write to us with your Topic Tuesday discussions and podcast debates at everydaydrivertv@gmail.com or everydaydriver.com. Thanks for listening and tell a friend!

Thank you for listening to the funniest podcast in Arkansas! The boys are back with another funny episode! This week, Alan, Chase and Romey are podcasting poolside at STF Headquarters. When you get a chance, please leave us a 5-star review on iTunes and Facebook! And, while on iTunes, hit that Subscribe button! It helps make the episodes easier to find in iTunes. Also, we are now active on YouTube! Visit us on our website at www.smalltownfamous.com. Or reach us on social media by searching @theSTFamous. Thanks for listening!

Episode XXVIII We Were Born Broadcasters It is just Kelley, Bill, and Herman, everyone wants to be on, old Corollas, cutting ivy, we were born broadcasters, flip flops, lost shoes, beavers, tippy canoe, ferry, kewpie card, house smells, crop dusting, shaving cats, cat vacations, oh yeah!, Kelley's school magazine, making copies, stealing from work, Mr. Belvedere -> Dixieland jazz is great -> Leon Redbone -> Mr. Belvedere, gross syndicated shows, Herman's grade 1 poem, how old was Herman?, birthday suit, Dr. Demento, End Special Edition

Since it's Episode 39, we thought it'd be interesting to bring up how Thomas is trying to get Adi to buy an E39 BMW (bad idea!) and replace his Volvo 240. Adi is just back from the Kia Stinger GT launch, and has a lot to say about it. Kevin and Adi battle out their opinions on the 2018 Infiniti Q50 Red Sport 400 and the Q60 Coupe. We dabble on other things like three-speed automatic Corollas, a potential forthcoming Mazdaspeed6, and the Toyota Yaris. 

Booty, Beams, Beasts. They all start with “B” and so does butts and boners. This is a serious podcast. *Don't worry, about 80% of this will be about Corollas*

Episode 32-This week's description comes courtesy of the hypothetical therapist we talk with every week: "I'm so proud of all the breakthroughs we've had this session, TeamClearCoat! I mean, we finally figured out that FCA is, in fact, the most hapless multinational corporation of all time, that the last Saab 9-5 is still a very good looking car, and that the two of you are basically Forrest Gump and Lt. Dan. We do still have some work to do in the next few sessions: Dave, you use too many hashtags #IRL, and Ian, put your silly putty chest back in your shirt. I know I said you should get it looked at because it's gross, but for the last time, I am not that kind of doctor." Hey! Did you know you can view the full episode description for links! Yeah! Click on stuff! TeamClearCoat website TeamClearCoat Instagram TeamClearCoat Twitter TeamClearCoat Facebook

The guys' home track in Utah has a new owner! Speculation for Miller Motorsports Park has ended, but now comes with intriguing news that's shocking to the automotive world. Both Car Debates are for Corolla owners--Alex C in Columbus, OH and Sam in Dallas TX. Alex is single and has some wildly varied options, Sam has a family and is needing a good all-arounder; but most important is that the guys want something fun to replace their cars, and move on to something new.Your Rating & Review is highly coveted--don't forget to rate this episode and the podcast in general! Thanks for your support, thanks for watching & listening, and write with your own debate at everydaydrivertv@gmail.com.

Food Talk with Mike Colameco is brought to you by the following generous underwriters: This week on Food Talk with Michael Colameco, host Mike Colameco welcomes journalist and author, Allen Salkin to the show to talk about his most recent book, “From Scratch: The Uncensored History of The Food Network.” Exchanging stories and thoughts on the creation and expanding popularity of food television, Mike and Allen discuss how food shows and concepts come to life and how this process has drastically changed throughout the years – possibly not for the better. After the break, Mike brings Chef Jesse Schenker to the studio. Jesse is the owner of The Gander and Recette in NYC and is the author of the book, All of Nothing: One Chef’s Appetite for the Extreme. A culinary memoir that illuminates the highs and lows of addiction, anxiety, and ambition in the world of haute cuisine, Jesse retells his tumultuous journey through the culinary world. He shares that by his early twenties he had been robbed, cheated, shot, and alienated from his family, and that finally being arrested motivated him to get clean. Tune in to hear Jesse’s preview of his intense and true story and how he turned his obsessiveness and drive that once was used for drugs to work to the top of the food world. “Has the interest in food become so complex that we need spin offs in every direction?” [19:25] “The job of the food network is to sell us Corollas, breath mints, and cruise vacations.” [24:20] —Allen Salkin on Food Talk “When it consumes you and you’re in it, you have no conscious.” [45:40] —Jesse Schenker on Food Talk

Several European automakers and their Chinese joint venture partners are battling over who gets to sell imported cars. Toyota will start exporting Corollas built in the U.S. to 18 countries in Latin America and the Caribbean. The new twin-turbo V6 in the upcoming BMW M3 will be the smallest displacement engine offered in that car in over two decades. All that and more, plus Autoline Daily correspondent Sean McElroy takes a look at the refreshed 2014 Toyota Tundra.

Toyota will no longer sell its Matrix hatchback in the United States. The move will free up capacity to build more Corollas. Traffic deaths in the U.S. have been declining for the past several years but that trend has reversed this year. Things are bad in Europe but in Italy sales of bicycles have actually overtaken cars! All that and more, plus a design walk around of the new 2014 Jaguar F-TYPE.

For my trip to California, I rented a car to get around. Because of my budget, I reserved a car similar to my own (Toyota Corolla). When we got to the rental agent they told me they were out of Corollas, but gave us a Pontiac Vibe instead. After getting to the parking lot we discovered that the Vibe had a dead battery. Then, they replaced the Vibe with a Mustang (for the rate of the renting a Corolla).