Podcasts about Creative Artists Agency

"Everyone tells me I'm terrifying." The powerhouse agent talks about being a woman in a male-dominated world and growing the careers of artists like David Guetta, Marlon Hoffstadt and more. What does it take to become a powerhouse agent in the male-dominated electronic music industry? No one can answer this question better than Maria May, a name that might be familiar to anyone who's had a brush with big-ticket dance music over the past 30 years. May is a longtime agent at CAA, or Creative Artists Agency, one of the largest booking agencies in the world. She was first hired a little over a decade ago to expand its representation of electronic music, back when the company saw that DJs were primed to become the new rockstars. She now looks after major acts like David Guetta, Paul Kalkbrenner, Marlon Hoffstadt and Sara Landry. But she isn't just a fierce businesswoman. She's also a tireless advocate for equity and inclusion in club culture. In this conversation recorded live at the International Music Summit in Ibiza, she talks about the obstacles she's faced over the course of her career as she's actively rebuilt the rooms in which major decisions are made. She was first inspired by her involvement in Britain's illegal rave scene, she recalls, which turned her onto the power of activism and showed her how on-the-ground organising can lead to real-life policy change. She also addresses the negative narrative taking hold of the music industry and the opportunities at hand to make positive, collective change. Listen to the episode in full. -Chloe Lula

"Everyone tells me I'm terrifying." The powerhouse agent talks about being a woman in a male-dominated world and growing the careers of artists like David Guetta, Marlon Hoffstadt and more. What does it take to become a powerhouse agent in the male-dominated electronic music industry? No one can answer this question better than Maria May, a name that might be familiar to anyone who's had a brush with big-ticket dance music over the past 30 years. May is a longtime agent at CAA, or Creative Artists Agency, one of the largest booking agencies in the world. She was first hired a little over a decade ago to expand its representation of electronic music, back when the company saw that DJs were primed to become the new rockstars. She now looks after major acts like David Guetta, Paul Kalkbrenner, Marlon Hoffstadt and Sara Landry. But she isn't just a fierce businesswoman. She's also a tireless advocate for equity and inclusion in club culture. In this conversation recorded live at the International Music Summit in Ibiza, she talks about the obstacles she's faced over the course of her career as she's actively rebuilt the rooms in which major decisions are made. She was first inspired by her involvement in Britain's illegal rave scene, she recalls, which turned her onto the power of activism and showed her how on-the-ground organising can lead to real-life policy change. She also addresses the negative narrative taking hold of the music industry and the opportunities at hand to make positive, collective change. Listen to the episode in full. -Chloe Lula

Music City welcomes us back as we head to Nashville to chat with Dustin Turner, Music Marketing Executive at Creative Artists Agency (CAA). Dustin walks us through his day to day, and explains how CAA often functions as a bridge between promoters and management teams, working with the artist teams to figure out what the creative is going to look like, and strategizing on ways they can work with venues to make sure tours are successful. Dustin tells us about the many advantages of being based in Nashville while also enjoying close collaboration with their offices in Los Angeles and New York. We dive into some shop talk, discussing marketing strategies, trends and future predictions, and how venues can better support tours. Dustin talks to us about how he got his start in live events, from setting up tents for Clear Channel Radio in San Antonio, to roles at various venues, Live Nation in Florida, Feld Entertainment in Philadelphia, and ultimately moving to Nashville to join AEG Live before moving to his current role with CAA. We discuss how those experiences have taught him valuable lessons, given him a great perspective on all sides of the industry, and instilled the importance of networking and building connections. You'll love this fun episode that is full of great career advice, fun stories, and some Nashville recommendations.Dustin Turner: LinkedIn | Instagram | FacebookCAA Music: Instagram ––––––ADVENTURES IN VENUELANDFollow on Instagram, LinkedIn, Facebook, or X/TwitterLearn more about Event & Venue Marketing ConferenceMeet our team:Paul Hooper | Co-host, Booking, Branding & MarketingDave Redelberger | Co-host & Guest ResearchMegan Ebeck | Marketing, Design & Digital AdvertisingSamantha Marker | Marketing, Copywriting & PublicityCamille Faulkner | Audio Editing & MixingHave a suggestion for a guest or bonus episode? We'd love to hear it! Send us an email.

My guest today is Michael Ovitz. Michael is the legendary talent agent and Co-Founder of CAA or Creative Artists Agency and he is joining me on Invest Like the Best for a second time. Michael started CAA in 1975 and over the next 20 years, he built it into the world's most formidable talent agency, changing Hollywood forever. He shares insights into how he identifies exceptional people across diverse fields - from Hollywood directors like Steven Spielberg to tech founders like Alex Karp of Palantir and venture capitalists like Marc Andreessen. Michael is a force whose expertise extends beyond just people, as he has also become a master in creating institutional momentum, which you'll hear in his involvement with the MoMA, Gulfstream, and more. We discuss his "pilot's checklist" for evaluating talent, the importance of time as his most valuable resource, and why he believes maintaining excellence is critical in any field. Please enjoy my conversation with Michael Ovitz. Subscribe to Colossus Review. For the full show notes, transcript, and links to mentioned content, check out the episode page here. ----- This episode is brought to you by Ramp. Ramp's mission is to help companies manage their spend in a way that reduces expenses and frees up time for teams to work on more valuable projects. Ramp is the fastest-growing FinTech company in history, and it's backed by more of my favorite past guests (at least 16 of them!) than probably any other company I'm aware of. Go to Ramp.com/invest to sign up for free and get a $250 welcome bonus. – This episode is brought to you by Ridgeline. Ridgeline has built a complete, real-time, modern operating system for investment managers. It handles trading, portfolio management, compliance, customer reporting, and much more through an all-in-one real-time cloud platform. I think this platform will become the standard for investment managers, and if you run an investing firm, I highly recommend you find time to speak with them. Head to ridgelineapps.com to learn more about the platform. –  This episode is brought to you by AlphaSense. AlphaSense has completely transformed the research process with cutting-edge AI technology and a vast collection of top-tier, reliable business content. Imagine completing your research five to ten times faster with search that delivers the most relevant results, helping you make high-conviction decisions with confidence. Invest Like the Best listeners can get a free trial now at Alpha-Sense.com/Invest and experience firsthand how AlphaSense and Tegus help you make smarter decisions faster. ----- Editing and post-production work for this episode was provided by The Podcast Consultant (https://thepodcastconsultant.com). Show Notes: (00:00:00) Welcome to Invest Like the Best (00:06:56) Spotting Talent and Building Institutions (00:08:01) The MoMA Story: Transforming an Art Institution (00:19:35) The Importance of Relationships and Time (00:24:32) Building Successful Boards and Teams (00:34:02) Insights on Leadership and Momentum (00:44:49) Building Blackstone and CAA (00:56:32) The Power of Momentum (00:57:25) Overcoming Fear of Failure (01:01:52) Strategic Partnerships and Global Influence (01:17:32) The Importance of Excellence (01:18:22) Mentorship and Legacy (01:34:00) The Future of Media and Technology (01:41:36) Pursuit of Happiness and Lifelong Learning

The NFL agent who represents Michael Bennett, Michael Crabtree, Marshawn Lynch, Kenny Stills and over forty other professional football players became the Executive VP at Wasserman .The agents, Doug Hendrickson and CJ LaBoy, have worked together dating back to their days at Octagon. However, in February 2014, they left to work under NFL agent Eugene Parker (who passed away in 2016) at what was called Relativity Sports and was rebranded to ISE under the new leadership of Hank Ratner, who was the former President and CEO of The Madison Square Garden Company.Hendrickson and LaBoy were basically left in charge of ISE's football division after Parker's death and veteran NFL agent Tory Dandy leaving ISE for Creative Artists Agency, bringing along with him clients such as Sammy Watkins and Shaq Lawson. To View This Episode- https://youtu.be/AcKyTcHz17Q#philfriedrich #whoknewinthemoment #marshawnlynch #nfl #sportsagent

Founders ✓ Claim : Read the notes at at podcastnotes.org. Don't forget to subscribe for free to our newsletter, the top 10 ideas of the week, every Monday --------- At the core of Michael Ovitz's success is his relentless work ethic and commitment to mastering his craft. 50 years ago he founded Creative Artists Agency. CAA starts out as just five young guys in a run down office and eventually becomes the most powerful agency in the world. Ovitz's autobiography explains how that happened. As the Wall Street Journal wrote: When the history of Hollywood is written, few people will have played a larger role than Michael Ovitz. This episode is what I learned from reading (for the 2nd time!) Who Is Michael Ovitz?: The Rise and Fall (and Rise) of the Most Powerful Man in Hollywood by Michael Ovitz. ----Ramp gives you everything you need to control spend, watch your costs, and optimize your financial operations —all on a single platform. Make history's greatest entrepreneurs proud by going to Ramp and learning how they can help your business control your costs and save more. ----Vesto: All of your company's financial accounts in one view. Connect and control all of your business bank accounts from one dashboard. Go to Vesto and schedule a demo with the founder Ben. Tell him David sent you. ----Founders Notes gives you the ability to tap into the collective knowledge of history's greatest entrepreneurs on demand. Use it to supplement the decisions you make in your work.  Get access to Founders Notes here. ----Join my free email newsletter to get my top 10 highlights from every book ----Founders Notes gives you the ability to tap into the collective knowledge of history's greatest entrepreneurs on demand. Use it to supplement the decisions you make in your work. Get access to Founders Notes here. ----“I have listened to every episode released and look forward to every episode that comes out. The only criticism I would have is that after each podcast I usually want to buy the book because I am interested so my poor wallet suffers. ” — GarethBe like Gareth. Buy a book: All the books featured on Founders Podcast

Founders ✓ Claim Key Takeaways  Best Michael Ovitz quotes: “Insecurity and ambition make a powerful cocktail.” “I didn't want to be standard in any way.”“I would have been much happier if I hadn't been so determined to appear all-knowing and invulnerable.”“Everyone stopped. I didn't stop.” Lew Wasserman's five rules that created his Hollywood empire 1. Tend to the client 2. Dress appropriately 3. Never divulge information about the firm 4. Do your homework 5. Never leave the office without returning every single phone call Michael Ovitz's founding principle for CAA1. All founding members get even equity 2. Get big fast 3. Share all clients and serve them as a group; no turf wars and no silos 4. Tell the truth 5. Create opportunities instead of waiting around for them Belief comes before ability: “I believe that nobody wants to be treated just as they are. People want to feel encouraged to become more than what they are, to become the best versions of themselves.” CAA poached talent by assumption: The firm behaved as if the talent was already their client, then made their dreams happen before ever even signing them Do the job before you are hiredKnow your customer's problem and present yourself as the solutionRealize that your “good times” are now: Thirty years from now, you will probably regret how you spent your time  Channeling Charlie Munger: Your goal in life should be to build a seamless web of deserved trust; work with the people in this web, and do life with these people – it is all about the people Read the full notes @ podcastnotes.orgAt the core of Michael Ovitz's success is his relentless work ethic and commitment to mastering his craft. 50 years ago he founded Creative Artists Agency. CAA starts out as just five young guys in a run down office and eventually becomes the most powerful agency in the world. Ovitz's autobiography explains how that happened. As the Wall Street Journal wrote: When the history of Hollywood is written, few people will have played a larger role than Michael Ovitz. This episode is what I learned from reading (for the 2nd time!) Who Is Michael Ovitz?: The Rise and Fall (and Rise) of the Most Powerful Man in Hollywood by Michael Ovitz. ----Ramp gives you everything you need to control spend, watch your costs, and optimize your financial operations —all on a single platform. Make history's greatest entrepreneurs proud by going to Ramp and learning how they can help your business control your costs and save more. ----Vesto: All of your company's financial accounts in one view. Connect and control all of your business bank accounts from one dashboard. Go to Vesto and schedule a demo with the founder Ben. Tell him David sent you. ----Founders Notes gives you the ability to tap into the collective knowledge of history's greatest entrepreneurs on demand. Use it to supplement the decisions you make in your work.  Get access to Founders Notes here. ----Join my free email newsletter to get my top 10 highlights from every book ----Founders Notes gives you the ability to tap into the collective knowledge of history's greatest entrepreneurs on demand. Use it to supplement the decisions you make in your work. Get access to Founders Notes here. ----“I have listened to every episode released and look forward to every episode that comes out. The only criticism I would have is that after each podcast I usually want to buy the book because I am interested so my poor wallet suffers. ” — GarethBe like Gareth. Buy a book: All the books featured on Founders Podcast

Founders ✓ Claim Key Takeaways  Best Michael Ovitz quotes: “Insecurity and ambition make a powerful cocktail.” “I didn't want to be standard in any way.”“I would have been much happier if I hadn't been so determined to appear all-knowing and invulnerable.”“Everyone stopped. I didn't stop.” Lew Wasserman's five rules that created his Hollywood empire 1. Tend to the client 2. Dress appropriately 3. Never divulge information about the firm 4. Do your homework 5. Never leave the office without returning every single phone call Michael Ovitz's founding principle for CAA1. All founding members get even equity 2. Get big fast 3. Share all clients and serve them as a group; no turf wars and no silos 4. Tell the truth 5. Create opportunities instead of waiting around for them Belief comes before ability: “I believe that nobody wants to be treated just as they are. People want to feel encouraged to become more than what they are, to become the best versions of themselves.” CAA poached talent by assumption: The firm behaved as if the talent was already their client, then made their dreams happen before ever even signing them Do the job before you are hiredKnow your customer's problem and present yourself as the solutionRealize that your “good times” are now: Thirty years from now, you will probably regret how you spent your time  Channeling Charlie Munger: Your goal in life should be to build a seamless web of deserved trust; work with the people in this web, and do life with these people – it is all about the people Read the full notes @ podcastnotes.orgAt the core of Michael Ovitz's success is his relentless work ethic and commitment to mastering his craft. 50 years ago he founded Creative Artists Agency. CAA starts out as just five young guys in a run down office and eventually becomes the most powerful agency in the world. Ovitz's autobiography explains how that happened. As the Wall Street Journal wrote: When the history of Hollywood is written, few people will have played a larger role than Michael Ovitz. This episode is what I learned from reading (for the 2nd time!) Who Is Michael Ovitz?: The Rise and Fall (and Rise) of the Most Powerful Man in Hollywood by Michael Ovitz. ----Ramp gives you everything you need to control spend, watch your costs, and optimize your financial operations —all on a single platform. Make history's greatest entrepreneurs proud by going to Ramp and learning how they can help your business control your costs and save more. ----Vesto: All of your company's financial accounts in one view. Connect and control all of your business bank accounts from one dashboard. Go to Vesto and schedule a demo with the founder Ben. Tell him David sent you. ----Founders Notes gives you the ability to tap into the collective knowledge of history's greatest entrepreneurs on demand. Use it to supplement the decisions you make in your work.  Get access to Founders Notes here. ----Join my free email newsletter to get my top 10 highlights from every book ----Founders Notes gives you the ability to tap into the collective knowledge of history's greatest entrepreneurs on demand. Use it to supplement the decisions you make in your work. Get access to Founders Notes here. ----“I have listened to every episode released and look forward to every episode that comes out. The only criticism I would have is that after each podcast I usually want to buy the book because I am interested so my poor wallet suffers. ” — GarethBe like Gareth. Buy a book: All the books featured on Founders Podcast

At the core of Michael Ovitz's success is his relentless work ethic and commitment to mastering his craft. 50 years ago he founded Creative Artists Agency. CAA starts out as just five young guys in a run down office and eventually becomes the most powerful agency in the world. Ovitz's autobiography explains how that happened. As the Wall Street Journal wrote: When the history of Hollywood is written, few people will have played a larger role than Michael Ovitz. This episode is what I learned from reading (for the 2nd time!) Who Is Michael Ovitz?: The Rise and Fall (and Rise) of the Most Powerful Man in Hollywood by Michael Ovitz. ----Ramp gives you everything you need to control spend, watch your costs, and optimize your financial operations —all on a single platform. Make history's greatest entrepreneurs proud by going to Ramp and learning how they can help your business control your costs and save more. ----Vesto: All of your company's financial accounts in one view. Connect and control all of your business bank accounts from one dashboard. Go to Vesto and schedule a demo with the founder Ben. Tell him David sent you. ----Founders Notes gives you the ability to tap into the collective knowledge of history's greatest entrepreneurs on demand. Use it to supplement the decisions you make in your work.  Get access to Founders Notes here. ----Join my free email newsletter to get my top 10 highlights from every book ----Founders Notes gives you the ability to tap into the collective knowledge of history's greatest entrepreneurs on demand. Use it to supplement the decisions you make in your work. Get access to Founders Notes here. ----“I have listened to every episode released and look forward to every episode that comes out. The only criticism I would have is that after each podcast I usually want to buy the book because I am interested so my poor wallet suffers. ” — GarethBe like Gareth. Buy a book: All the books featured on Founders Podcast

It is always a pleasure to welcome Gerard Longo back to The Jake's Take with Jacob Elyachar Podcast. Gerard founded the Underground Music Collective (UMC), a Nashville-based educational and multimedia platform designed to give artists the resources they need to build sustainable, values-based creative ecosystems. For more than a decade, UMC has impacted thousands of musicians, creatives, and industry stakeholders through multimedia content, live music experiences, and the UMC Academy artist mentorship program. Gerard and the Underground Music Collective believe that the power rests in the hands of the creative.The organization strives to empower artists to think and act like entrepreneurs by providing knowledge, insights, connections, and opportunities gleaned from our decade-plus journey in the music industry.  Throughout its history, UMC has collaborated with nationally and globally recognized brands, including Universal Music Group, Red Bull, Tennessee Titans, Nashville Predators, Creative Artists Agency, ArtsQuest, Helping Our Music Evolve, and Guidance Whiskey.Gerard Longo and the UMC have been featured across major media outlets, including iHeartRadio, MusicRow Magazine, and Authority Magazine, and have provided coverage at major events, festivals, and venues, including Nashville's Big Bash, AmericanaFest, Ryman Auditorium, Musikfest, and many more.On this episode of The Jake's Take with Jacob Elyachar Podcast, Gerard Longo spoke about UMC's tenth-anniversary celebrations, speaking at South by Southwest, and releasing his first book, 60+ Lessons from the Creative Journey: A Handy Guide for the Budding Entrepreneur.Let's connect on social media: A) BlueSky: https://bsky.app/profile/jacobelyachar.bsky.socialB) Facebook: https://www.facebook.com/JacobElyachar/C) Instagram: https://www.instagram.com/jacobelyachar/D) Threads: https://www.threads.net/@jacobelyacharE) Twitter (X): https://x.com/JacobElyacharF) YouTube: https://www.youtube.com/@JacobElyacharBecome a supporter of this podcast: https://www.spreaker.com/podcast/jake-s-take-with-jacob-elyachar--4112003/support.

This Day in Legal History: First Televised TrialOn October 25, 1988, New York marked a significant moment in legal and media history by televising its first-ever courtroom trial—the highly publicized murder case of Joel Steinberg. Steinberg, a disbarred attorney, was accused of the brutal abuse and subsequent death of six-year-old Lisa Steinberg, his illegally adopted daughter. Public outrage and media interest were intense, and the televised trial offered viewers unprecedented access to courtroom dynamics, evidence presentation, and witness testimony. This coverage came as part of an experimental initiative in New York, designed to gauge whether the public's right to access the legal process through television could coexist with the fairness and decorum of courtroom proceedings. The trial captivated audiences and sparked debates over the benefits and pitfalls of televised trials. Advocates argued that broadcasting trials promoted transparency and public understanding of the judicial system. Opponents, however, voiced concerns that television could disrupt proceedings, influence witness behavior, and introduce bias by swaying public opinion. Steinberg's trial ultimately led to his conviction for manslaughter, though the broader implications of the experiment reached far beyond this single case. The success of this experiment paved the way for the launch of Court TV in July 1991, which would go on to cover high-profile cases like those of O.J. Simpson and the Menendez brothers, changing public engagement with the legal system. This development marked a shift toward greater media access in courtrooms across the United States, though the debate over its impacts continues today. The Steinberg case remains a key moment in the intersection of law and media, shaping how future generations would come to witness and understand legal proceedings through their screens.Hollywood studios frequently use California's anti-SLAPP law to counter idea theft lawsuits, claiming free speech protections to halt proceedings and requiring plaintiffs to demonstrate their case has merit early on. The anti-SLAPP statute was originally designed to protect individuals from strategic lawsuits stifling public participation, but it now often benefits large corporations in creative disputes. Once defendants claim free speech protections, plaintiffs face restrictions on discovery, potential delays from appeals, and the risk of paying hefty legal fees for defendants if the motion is successful. Recent court decisions, like Musero v. Creative Artists Agency and Norman v. Ross, have strengthened the effectiveness of anti-SLAPP motions in these cases, making it challenging for creators to bring successful suits. While the Ninth Circuit previously allowed some idea theft claims to proceed in federal court (e.g., Jordan-Benel v. Universal), California state courts have since diverged, making such claims nearly impossible to win in state court. This split between federal and state interpretations creates additional uncertainty for plaintiffs. Attorneys now approach idea theft claims cautiously, noting the costs, time, and complexities due to anti-SLAPP law. Even with valid claims, plaintiffs may struggle against the heavy evidentiary burden, and fewer lawyers are willing to take on such cases in California's current legal landscape.Hollywood Studios Use Free Speech Law to Beat Idea Theft SuitsA bipartisan bill that would provide tax relief for U.S. citizens held hostage abroad is stalled in Congress. The Senate bill, introduced by Senator Chris Coons, seeks to delay tax filing deadlines and waive penalties for detained individuals and their spouses. Supporters argue that wrongful detainees should not face IRS penalties for missed deadlines due to captivity, and inaction would leave affected Americans liable for accumulating penalties. This issue has gained urgency following recent hostage situations, including Americans held in Gaza and other countries.The Senate bill's path forward is complicated by a disagreement over legislative procedure. The Senate agreed to pass the bill without a separate vote if the House sent over an identical version. However, the House Ways and Means Committee chose to advance a different bill, introduced by Rep. Claudia Tenney, which merges tax penalty relief with changes to the process for revoking tax-exempt status for groups linked to terrorism. House Republicans believe the merged bill improves the original, but this approach risks delaying or blocking the legislation entirely, as the Senate is less likely to approve the modified version. If the House does not pass the original Senate bill, the legislation will likely be delayed until the next Congressional term.Relief for Hostages Facing IRS Penalties Bogs Down in CongressLos Angeles County District Attorney George Gascon announced he would recommend parole for Erik and Lyle Menendez, who have served nearly 35 years in prison for the 1989 murder of their parents. Gascon cited new evidence supporting claims that the brothers endured years of sexual abuse by their father, Jose Menendez, which could have influenced the jury's decision had it been available during their trials. Convicted in a high-profile second trial in the 1990s, the brothers argued self-defense, but prosecutors claimed they killed their parents for financial gain.Gascon now believes the brothers, ages 21 and 18 at the time of the murders, have “paid their debt to society,” though he emphasized the severity of their crime and noted opposition within his office. He also acknowledged a recent letter from Erik Menendez describing abuse months before the murders, as well as allegations against Jose Menendez from a former member of the pop band Menudo, raising questions about abuse patterns.The decision to expedite the case follows renewed public interest, driven by a Netflix dramatization and an upcoming court hearing scheduled for November 26. Gascon, facing re-election, denied that political motivations influenced his decision, highlighting his broader efforts to address “over-incarceration” in similar cases. Some Menendez family members support the brothers' release, while Gascon reiterated his office's evolving stance on complex issues of sexual abuse and violence.Menendez Brothers to Get DA Recommendation for Resentencing (1)Prosecutor recommends parole for Menendez brothers in 1989 murder of parents | ReutersThe owners of the cargo ship Dali have agreed to pay the U.S. government $102 million after the vessel collided with Baltimore's Francis Scott Key Bridge in March 2024, causing its collapse and resulting in six fatalities. The Justice Department had filed a $103 million lawsuit against Grace Ocean Private Limited and Synergy Marine Private Limited, both based in Singapore, to recover federal costs for cleanup and debris removal needed to reopen the Port of Baltimore. This operation required over 1,500 responders and substantial resources, with reopening delayed until June.The Dali had reportedly experienced electrical failures leading up to the crash, prompting both a National Transportation Safety Board inquiry and an FBI investigation. Additionally, Maryland state officials are seeking separate compensation from the companies, estimating $1.7 billion to $1.9 billion to rebuild the bridge by 2028. Funds recovered for bridge reconstruction are expected to reduce costs borne by taxpayers.Cargo-ship owner to pay US $102 million over Baltimore bridge collapse, DOJ says | ReutersThis week's closing theme is by Johann Strauss II.This week's closing theme features the lively elegance of Johann Strauss II with the first movement of his Wiener Klänge im Walzertakt mit Johann Strauss, a piece that captures the unmistakable joy and sophistication of the Viennese waltz. Known as the “Waltz King,” Johann Strauss II was a composer and conductor who, more than anyone, popularized and refined the waltz into an art form beloved worldwide. Born into a musical family in 1825, he inherited his father's musical gifts and keen understanding of public taste, quickly building on his father's legacy to establish himself as a central figure in Austrian music.Strauss's music became synonymous with the grandeur and charm of 19th-century Vienna. His waltzes, like the famous Blue Danube and Tales from the Vienna Woods, offered audiences sweeping, melodic expressions of life's joyful moments and turned the city into a cultural hotspot. Wiener Klänge, or "Viennese Sounds," presents a selection of these celebrated waltzes, celebrating not only the beauty of the dance but also the rhythmic elegance that Strauss brought to the genre. The piece combines energetic and graceful passages that bring the sparkle of a Viennese ballroom to life.Strauss was known for infusing his compositions with light-hearted elegance and rhythmic sophistication, evoking the sway and energy of couples gliding across a ballroom floor. His work on Wiener Klänge draws listeners into this vibrant world, where each waltz embodies both the simplicity and complexity that made his music timeless. To this day, his works continue to charm audiences worldwide, cementing his legacy as one of Austria's most beloved composers. Ending with Wiener Klänge is a nod to his infectious rhythm and intricate harmonies that encapsulate Vienna's musical heritage—an uplifting conclusion to our week.Without further ado, Wiener Klänge im Walzertakt mit Johann Strauss first movement, enjoy. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.minimumcomp.com/subscribe

Jamie Gutfreund is a globally recognized leader and marketing professional with a proven track record of helping brands anticipate cultural and technological shifts and act on them—not just talk about them. Jamie has held CMO and senior roles at Hasbro, Creative Artists Agency, Microsoft, Expedia, and WPP.  Today, Jamie is the founder of ⁠Creator Vision⁠, a consultancy that helps brands maximize their investments in the creator economy. As Chief Growth Officer at Whalar, Jamie played a pivotal role in elevating the agency to industry prominence, earning recognition as AdWeek's Creator Agency of the Year, one of Fast Company's Most Innovative Companies, and a leading creator agency on AdAge's A-List. Jamie has been named one of Forbes' Most Entrepreneurial CMOs, Campaign's 40 over 40, and one of Elle Magazine's “Women to Watch.”  Jamie is a dynamic public speaker, appearing at events ranging from Cannes Lions, Google's Think Retail, and CES . She is also a frequent contributor to Forbes, The Wall Street Journal, The New York Times, and Fast Company. 

Today I'm joined by Douglas E. Mirell to discuss the NO FAKES legislation. Since October 2023, Doug has strategized with the Screen Actors Guild-American Federation of Television and Radio Artists about getting as many stakeholders as possible to agree upon acceptable final language for the NO FAKES Act, bipartisan AI legislation that was formally introduced in the U.S. Senate on July 31, 2024. Included within the coalition of frequently adversarial organizations that have endorsed the NO FAKES Act are the Recording Industry Association of America, the Motion Picture Association, OpenAI, IBM, Creative Artists Agency, and William Morris Endeavor – along with SAG-AFTRA. The NO FAKES Act seeks to prevent individuals and companies, including social media sites and other platforms, from producing or distributing unauthorized digital replicas embodying the voices and/or visual likenesses of living or deceased human beings. --- Support this podcast: https://podcasters.spotify.com/pod/show/followingfilms/support

Shakespeare's Margaret takes center stage Whitney White's trajectory from MFA to CAA happened fast. After earning a Master of Fine Arts from Brown University in 2015, she is now represented by Creative Artists Agency, a talent juggernaut in the entertainment world. Her degree is in acting, but directing earned her a Tony Award nomination in April for Jaja's African Hair Braiding. Now, her play By the Queen is in rotation at the Hudson Valley Shakespeare Festival through Aug. 31, under the direction of Shana Cooper. By the Queen, subtitled "A Survivor's Tale," contains plenty of the Bard's lines and scenes, which White uses to craft a sophisticated psychological study of Queen Margaret of Anjou, captured on the same battlefield as Joan of Arc. She is also one of the only characters to appear in multiple Shakespeare plays. "Shakespeare isn't the Bible," says White, so it's adaptable and applicable to today. To punctuate the point, she immediately pierces the fourth wall as the main character struts toward the audience and says, "Hi there. Oh, don't be shocked. I can see you and I know that you see me." Margaret, for whom Shakespeare coined the term "she-wolf of France," gets airtime in four of his so-called history plays: Henry VI, in three parts, and Richard III, which White's script calls "one of the most epic - badass - stories ever written." This queen is also Shakespeare's only female character to age chronologically. The script presents just about all of Margaret's mentions, utterances and scenes from the original plays, shifting gears from old prose to modern English and back without hitting any speed bumps. White divides her life into three roles: Margaret 1 (Malika Samuel), age 16 to her "dirty thirties," according to the character description; Margaret 2 (Sarin Monae West), who makes dire decisions and suffers terrible consequences; and Margaret 3 (Nance Williamson), the only character in Richard III to confront the immoral king. The play is framed as Margaret 3's flashback during her final exile in France, where she enjoys wine and mulls her fourth and final act. She and the other Margarets are onstage together almost the entire time as they interact, question motives and revel in her/their ability to survive this tragical history tour through the War of the Roses in the 1400s. White denotes the presence of "a lot of men. Too many men" in the four plays and dismisses their injurious affairs with comic effect: "blah blah blah politics, blah blah blah land, blah blah blah power." During battle scenes, the principals and minimalist ensemble (Bobby Moreno, Luis Quintero, Travis Raeburn, Stephen Michael Spencer) scream "waaarrrr!" and engage in madcap play-fighting antics as light and sound play along. The script probes more than it preaches. Samuel's note-perfect Margaret 1 almost hijacks the show based on her performance, not necessarily the lines. The character debuts as naive comic relief and ultimately evolves into a moral compass as Margaret 2 murders rivals, becomes a widow, watches her son get killed and is served her lover's severed head on a platter, "medium rare." Yet the play never condescends into an anti-male screed and calls Shakespeare the "greatest writer who ever lived," even as White subjects his words to inquiry, marshaling line after misogynistic line hurled at Margaret to examine his perspective onstage in real time. This approach could easily devolve into dull academic deconstruction, but White handles these sections with nimble effect. Employing a hilarious herald (Jacob Ming-Trent) to condense the action and serve as a "purist," she zeroes in on the pivotal characters and distills the four plays so well that minimal prior knowledge is required to follow along. As Margaret 3, Williamson conveys the older queen with confidence as she inexplicably returns from banishment in France to confront Richard III. Otherwise, Williamson as narrator is the bemused, resigned, "resplendent elder" called for in ...

This week I brought on the show, playwright, screenwriter, director, and actor, John Pollono.  I wanted to go down the road a little bit about his remarkable journey in the business which expands across theatre and short films. John is one of the founders of the Jabberwocky Theatre Company in 2004 which became the Rogue Machine Theatre in 2008 where he produced his earlier plays. His big break came with his screenplay for the acclaimed biographical drama film, Stronger which premiered at the 2017 Toronto International Film Festival.The screenplay, based on Bauman's memoir Stronger, was number two on the Black List (most-liked "motion picture screenplays not yet produced) in 2016.Stronger, starring multiple award-winning actors, Jake Gyllenhaal, is the inspiring real-life story of Jeff Bauman --- an ordinary man who captured the hearts of his city and the world to become a symbol of hope after surviving but losing his legs in the 2013 Boston Marathon bombing and must adjust to his new life.This project came along for John right after signing with Los Angelos - based Creative Artists Agency. Producers, Alex Young and Todd Lieberman were already familiar with Pollono's work. And they were on the hunt for something. That was when adapting Stronger became a prospect.At the time, the book was not yet published so he had a chance to review the unpublished book. Producer Scott Silver was looking to mentor a more junior writer for the Stronger film and fortuitously, John was a good fit having grown up 20 minutes from where the characters take place, he was the best candidate for the job. So, with a follow-up pitch, the book's film adaptation screenplay was sold to Lionsgate.Writing Stronger (the film) was a double success for Pollono. Not only was he mentored directly by the incredible Scott Silver and receiving writing directions about theme, structure, etc, but the project brought him some notoriety as well by topping number two on the blacklist a year before production. This interview was a pretty cool conversation and I did not hold back getting John to share all the gems of the business he's learned and fun questions like what it's like working with Frank Darabont and working on the new Hulk Hogan movie currently in production.Enjoy my conversation with John Pollono.Become a supporter of this podcast: https://www.spreaker.com/podcast/bulletproof-screenwriting-podcast--2881148/support.

#123 Dan Abel is a beer guy. But that wasn't always the case.    Shortly after graduating from UW-Madison, Dan packed up his gear and headed west. His goal: make it in the music business.    That dream didn't quite pan out. But the lessons learned from being a part of LA's music scene would stick with him.    He would go on to work at Creative Artists Agency. Then YouTube. And then Abel became Director of Global Marketing at Reverb.    And while at Reverb, he hit on the idea for Pilot Project – a first-of-its-kind brewery incubator. A place that would help brewers launch their business.   It's a great story. And Dan is a great storyteller. So come along for the ride and here the full story!   Check on Dan on LinkedIn at: ​​https://www.linkedin.com/in/danielabel/   Or visit the website: https://www.pilotprojectbrewing.com/milwaukee   If you're in the Milwaukee area make sure to stop by Pilot Project. It's awesome!!   ✅ Connect with Pat at: pmcgovern@ascedia.com

Courtney Carter, founder of Carter Media Group (CMG), a leader in building story-driven and innovative brands. CMG partners with luminaries such as Liza Koshy and Ghetto Gastro, while Courtney serves as the executive producer for the successful series "LIZA ON DEMAND." Previously, Courtney worked at Creative Artists Agency and ESPN, where she excelled in digital talent packaging and sports management, respectively. She is also an active board member for several organizations and founded the non-profit Ally2Action in 2020, focusing on accelerating racial reconciliation.  "Life With Mikey" is a dynamic podcast hosted by Mikey Taylor and Michael Michalov. Mikey Taylor, a former professional skateboarder turned real-estate-investing mogul, dives into the world of money, business, and culture. Drawing from his unique journey from skating the streets of LA to managing over $200 million in real estate, Mikey offers insightful discussions on achieving financial freedom and navigating the complexities of modern business. Michael Michalov boasts a robust 25-year journey in the financial services and real estate sectors. After college he quickly climbed the ladder in the banking industry, eventually becoming the Vice President of Retail, overseeing more than 200 locations, and managing a team of 1,075 employees. His knack for operational efficiency in banking and real estate is unparalleled. In 2014 Michael pivoted to becoming an entrepreneur and launched a financial advisory practice. This venture, which he successfully sold after three years, led him to an exciting opportunity as both a Partner and the COO at COMMUNE. With his extensive experience in operational management, financial advisory, and real estate, Michael is well-equipped to delve into a diverse array of captivating subjects.

Creative Artists Agency, one of the top entertainment and sports talent agencies, is hoping to be at the forefront of AI protection services for celebrities in Hollywood. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Explore the world of coaching insights and wisdom with Coach Sean Brawley, a trailblazer in unlocking human potential and maximizing performance. In this episode, we chat about coaching philosophy, how to win, and the transformative power of the Inner Game. From dissecting the Hero's Journey to uncovering the essence of relaxed focus, Sean shares invaluable lessons drawn from his extensive experience in coaching top athletes and business leaders alike. Join us as we navigate through key moments touching on the fix-it culture, and the profound impact and sustainability from the famous book, The Inner Game of Tennis. Get ready to embark on a journey of learning, growth, and mastery in the world of coaching. Check out the key moments below; 2.04: Are you a Star Wars or Star Trek fan? Joseph Campbell's Hero's Journey 3.17: Is it possible to win forever and do you have a coaching philosophy? 7.20: We live in a 'fix it' culture! 8.50: "Do not try your best!" "This is not a big game. This is not a big rival." You are in danger of pumping yourself up too much! Instead, trust your training and play normal. 12.55: Polyvagal theory is the science of safety and trauma, created by Dr. Stephen Porges. For more information on the POLYVAGAL Theory go to www.polyvagal.org 15.06: Relaxed Focus is the #1 skill of the inner game. 19.26: About the book: The Inner Game of Tennis (first written in 1974) 22.15: The difference between goal setting and having an intention. 24.30: Pay attention to what works and what doesn't work with your students (being mentored by Timothy Gallwey). 26.53: Coach EM's favorite parts of the book: 1) 'The opponent in one's own head is more formidable than the one on the other side of the net.' 2) If a coach can help a player to remove or reduce the internal obstacles to their performance, an unexpected natural ability will flow forth without the need for much technical input from the coach.' 30.12: What is the ONE thing that you can focus on? The Tennis Ball! 35.20: It takes 15-20 minutes to have beginner tennis players 'playing' the game. One of our primary roles is to bring out their natural ability. 41.28: Definition of coaching - helping people improve their learning and performance in an enjoyable and meaningful way. 41.47: Is there a difference between sports coaching and business coaching? 43.43: What makes a great coach? 1) Masterful Coaching 2) Deliberate Practice 3) Commitment/grit/perseverance 1) Results (consistent results) 2) Caring (Belonging and feeling safe) 3) Presence (Notice what is really going on) The Coaching Podcast is sponsored by The Sampson Agency - a talent entertainment and sports management company owned and operated by Tina Samara. Visit: www.thesampsonagency.com or email: tina@transitioncoach4athletes.com To learn more about becoming a workplace coach or advancing your coaching skills, visit: www.opendoorcoachingusa.com or email: info@emmadoyle.com.au About Sean Brawley Sean Brawley has dedicated the past 25 years to helping people from all walks of life unlock their potential and elevate their performance. In the process, he has become one of the world's foremost experts on accelerated learning, innovative coaching, and sustainable high performance in sports and business. Sean has created leadership development and coaching skills training programs for leaders and provided executive coaching services to senior executives across diverse industries. His coaching engagements include working with CEO's, senior vice presidents, COO's, international sales leaders, and division presidents in entertainment, technology, healthcare, professional service firms, and finance companies. His corporate clients have included GE, Dave & Buster's, ITT, Union Bank, Creative Artists Agency, House of Blues, ITT, and Seagate Technology, among others. As a former Top 150 world-ranked tennis professional who competed at the highest level of the game including Wimbledon and the U.S. Open, Sean learned first-hand what it takes to achieve a high level of mastery and perform well under pressure. Sean has worked as a mental performance coach and player development advisor to some of the best-known teams in sports including the New York Yankees, San Diego Padres, Seattle Mariners, and the U.S. Tennis Association. From 2000-2009, Sean served as Coach Advisor to USC Football Head Coach Pete Carroll helping him conceptualize and clarify his highly successful “WinForever” coaching philosophy that would lead to 2 National Championships, 3 Heisman Trophies, and to his recent Super Bowl Championship as Head Coach of the Seattle Seahawks. For the past 20 years, Sean has worked closely with Tim Gallwey, the author of The Inner Game series of books including the classic, The Inner Game of Tennis. Sean is the first certified Inner Game coach in the world and is listed as a key contributor to the Inner Game of Tennis and Inner Game of Workbooks. In 2012, Sean co-founded the Inner Game School of Coaching and served as primary curriculum designer and lead trainer. Please write Sean at sean@seanbrawley.com for more information on The Inner Game.

In today's episode of Discover Daily, a podcast powered by Perplexity, we explore the growing influence of artificial intelligence across various industries. From the U.S. House of Representatives taking steps to ban the popular social media app TikTok due to national security concerns, to rapper Drake releasing an AI-generated diss track featuring the voices of Tupac Shakur and Snoop Dogg, AI is making waves and sparking important conversations. We also delve into the entertainment industry, where Creative Artists Agency (CAA) is exploring the use of AI to create digital doubles of artists, raising questions about the rights to these digital personas and the implications for actors' careers.From Perplexity's Discover feed:US House moves to ban TikTokDrake records song with AI TupacTalent agency CAA tests AI clones of artistsPerplexity is the fastest and most powerful way to search the web. Perplexity crawls the web and curates the most relevant and up-to-date sources (from academic papers to Reddit threads) to create the perfect response to any question or topic you're interested in. Take the world's knowledge with you anywhere. Available on iOS and Android Join our growing Discord community for the latest updates and exclusive content. Follow us on: Instagram Threads X (Twitter) YouTube Linkedin

Branding involves crafting brands from the inside out, yet in today's crowded marketplace, achieving visibility is more challenging than ever despite having a strong brand and unique identity. In this episode wel gain insights from Jaci Russo, a branding expert with extensive experience, including collaborating with renowned organizations like the Creative Artists Agency, Home Shopping Network and Ticketmaster, then founding her own company, BrandRusso. Discover the four important elements of branding, including focus, brand promise, connection and harmony. These are expanded upon in Russo's book and in the online learning program, https://www.brandstateu.com/ . You'll want to find out more at https://brandrusso.com/  and in the book He Said, She Said. (on Amazon here: https://amzn.to/4cf4AUr) Make sure you get our weekly articles, music and other updates here: https://goalsforyourlife.com/newsletter  CHAPTERS: 0:00 - Introduction to Branding Excellence 1:46 - Jackie Russo: Background and Journey 3:56 - Creative Artists Agency Experience 7:58 - Relocating: Louisiana to California 11:20 - Entrepreneurship and Motherhood 17:42 - Business-Family Life Balance 18:44 - Effective Branding Strategies 27:33 - Personal and Business Growth 28:38 - Motherhood Influencing Leadership 30:36 - Life Balance Techniques 31:30 - Implementing a 4 Day Work Week 35:08 - Flexibility in Business 39:04 - Defining Your Mission 40:15 - Serve Before Selling Approach 46:16 - Final Insights 46:48 - Immediate Action Steps for Progress 49:51 - Connecting with Jackie Russo 50:30 - Conclusion

Uncover the shadowy corners of Scientology as our investigation reveals the untold story of their ironclad grip on narratives and personal reputations. This episode pulls the curtain back on the Office of Special Affairs and their unwavering defense mechanisms, guided by historical documents that suggest past strategies are still at play. We navigate through the high-stakes world of Tom Cruise, from a critical meeting at Creative Artists Agency to the tense underbelly of Hollywood contract wars, showcasing how Scientology's influence extends far beyond spiritual beliefs.Prepare for a rollercoaster of intrigue and power moves as we dissect a pivotal debrief that could have upended Cruise's career, and expose the machinations of media control that rival any Hollywood drama. The stakes are high, the players are secretive, and their actions reverberate through the industry. Step behind the scenes with us as we explore how Scientology, celebrity, and the pursuit of power coalesce in a tale that's as gripping as any blockbuster film.Support the showBFG Store - http://blownforgood-shop.fourthwall.com/Blown For Good on Audible - https://www.amazon.com/Blown-for-Good-Marc-Headley-audiobook/dp/B07GC6ZKGQ/ref=tmm_aud_swatch_0?_encoding=UTF8&qid=&sr=Blown For Good Website: http://blownforgood.com/PODCAST INFO:Podcast website: https://www.buzzsprout.com/2131160/shareApple Podcasts: https://podcasts.apple.com/us/podcast/blown-for-good-behind-the-iron-curtain-of-scientology/id1671284503 Spotify: ...

Today we're speaking with Nicole Kasper of Odyssey Entertainment Group. Odyssey Entertainment Group, a women-led Influencer and Artist management company in Nashville, TN, was co-founded by Nicole Kasper and Paige Kosinski in February 2021. The company has grown rapidly, now comprising nine full-time team members and managing 53 exclusive talents. With a focus on innovation and excellence, Odyssey has successfully executed over 2000 campaigns since its inception. Nicole Kasper, as a co-founder and the Head of Management, brings a wealth of experience from the music and entertainment industry. Graduating from UCLA in 2014, her career has spanned various sectors including A&R, booking, and management, with roles at Universal Music Group, Live Nation, Clear Channel Radio, Creative Artists Agency, Big Machine Label Group, and Warehouse West Entertainment. Prior to Odyssey, Kasper was the Creative Director at Warehouse West Entertainment in Nashville, where she provided comprehensive support to artists for music release, recording, and promotion, as well as fan base growth. Her expertise was instrumental in guiding artists in aspects ranging from management selection to brand strategy and tour booking. Kasper's past clients include renowned names such as Cheap Trick, Jennifer Nettles, Alana Springsteen, Delta Rae, and Hank Williams Jr. Currently, Odyssey Entertainment Group's roster boasts an impressive social media footprint, with over 50 million followers across platforms. Connect with her: Instagram: https://www.instagram.com/nicolekasper4 Timestamps [00:02:01] TikTok legislation passed. [00:07:41-00:07:52] Nashville's popularity rise. [00:08:05] Nashville's appeal and growth. [00:13:32-00:13:43] Nashville internship experience. [00:15:07] Music industry careers. [00:21:46-00:21:57] Social media's impact on music. [00:23:53-00:24:04] Creator economy opportunities. [00:28:37-00:28:48] Workplace Mental Health Focus [00:32:17-00:33:24] Managing Mental Health. [00:33:24] Business partner dynamics. [00:39:52-00:40:02] Remote work challenges. [00:42:12-00:42:22] Music industry expansion debate. [00:44:54] Talent scouting process. [00:48:12-00:48:23] Pitching success strategies. [00:51:38-00:51:48] Building a creator's business. [00:54:09] Social media platform instability. [00:57:37] TikTok's potential disappearance. Want to join WIIM's Membership? Check out our website http://www.iamwiim.com/join Join WIIM's upcoming events near you! http://www.iamwiim.com/events Don't forget to follow us on Instagram http://www.instagram.com/iamwiim --- Send in a voice message: https://podcasters.spotify.com/pod/show/wiim/message Support this podcast: https://podcasters.spotify.com/pod/show/wiim/support

My guest today is Michael Ovitz. Michael is the legendary talent agent and co-founder of CAA, or Creative Artists Agency. Michael started CAA in 1975 and over the next twenty years, he built it into the world's most formidable talent agency, changing Hollywood forever. The list of stars he's worked with is endless, from Meryl Streep to Steven Spielberg and David Letterman.  Since leaving CAA, he has become an investor and adviser to many prominent firms, most notably Andreessen Horowitz, and Michael's work ethic is unmatched. Please enjoy this great discussion with Michael Ovitz. Listen to Founders Podcast For the full show notes, transcript, and links to mentioned content, check out the episode page here. ----- This episode is brought to you by Tegus, the modern research platform for leading investors. Stretch your research budget with flexible expert calls you can trust. At a fraction of the cost of traditional expert networks, Tegus customers pay only what an expert charges – with zero markups and no confusing call credits – netting an average 70% savings. Don't want to conduct a full hour call? Tegus offers the ability to schedule 30-minutes, an offer you won't find anywhere else. And they don't stop there. With white-glove custom sourcing for every project and robust compliance measures, including a dedicated 50+ analyst team that vets every call transcript, Tegus ensures your privacy and protection. As the industry innovator for qualitative insights, Tegus helps you find the right experts you need at a quality and speed that can't be matched. For a limited time, as a listener, you can trial Tegus for free by visiting tegus.co/patrick. ----- Invest Like the Best is a property of Colossus, LLC. For more episodes of Invest Like the Best, visit joincolossus.com/episodes.  Past guests include Tobi Lutke, Kevin Systrom, Mike Krieger, John Collison, Kat Cole, Marc Andreessen, Matthew Ball, Bill Gurley, Anu Hariharan, Ben Thompson, and many more. Editing and post-production work for this episode was provided by The Podcast Consultant (https://thepodcastconsultant.com). Stay up to date on all our podcasts by signing up to Colossus Weekly, our quick dive every Sunday highlighting the top business and investing concepts from our podcasts and the best of what we read that week. Sign up here. Follow us on Twitter: @patrick_oshag | @JoinColossus Show Notes: (00:03:23) - Something other people believe about Michael that isn't true  (00:08:21) - Balancing the love of his career with his personal life  (00:13:33) - The return of his work ethic after an overdue break  (00:25:08) - Why scale and speed were critical to CAA's success (00:29:31) - How founders and CEOs might benefit from having agents (00:36:10) - The idea of positional power  (00:41:52) - Making over 250 calls for 30 years  (00:48:02) - Never bad mouthing the competition  (00:49:34) - Defining characteristics of CAA's company culture  (00:53:07) - Learning to spot talent quickly   (00:58:24) - If you want to be happy, forget yourself  (01:01:52) - Forgetting yourself by taking action  (01:07:02) - Page turning excitement versus slow burning engagement  (01:12:31) - Looking for similar patterns in investors and creatives (01:16:16) - What a problem solver needs to build a franchise   (01:20:12) - CAA's mystique and how Michael cultivated it  (01:26:11) - Relationships are always the most important thing   (01:28:55) - Thoughts on offensive investing strategies  (01:30:22) - What art has taught him about the world  (01:36:46) - Being fearless in confrontation   (01:39:55) - The kindest thing anyone has ever done for Michael

Are you effectively communicating your brand? Are you understanding your prospects and choosing quality over quantity? Do you speak in their terms to reach them? Do you have a deep understanding of their needs and challenges? Today's guest is a branding expert who knows how to speak to audiences and get a message across. She sees agencies making many mistakes by not understanding that you have to earn your brand, not buy it. Tune in for valuable insights and tips for agency owners to create memorable and effective brands. Jaci Russo is the co-founder and CEO of Brand Russo, a strategic branding agency that aims to change the conversation and motivate consumer behavior through the use of our experience, resources, talent, and process. Jaci discusses branding strategies for agencies and some misconceptions and mistakes agencies make when it comes to branding. In this episode, we'll discuss: To win prospects over, answer the question "What can you do for ME?" Understanding your clients' personality type. How to earn your brand. Focus on quality over quantity in proposals. Subscribe Apple | Spotify | iHeart Radio Sponsors and Resources Gusto: Running payroll and benefits is hard. Especially when you're a small business. Gusto is a tool that helps make payroll, benefits, and HR easy for small businesses. You no longer have to be a big company to get great technology, great benefits, and great service to take care of your team. For a limited time, Gusto is offering a deal to Smart Agency Master Class listeners. Check out Gusto.com/agency for 3 months FREE once you run your first payroll with them.   Going from Agency Employee to Freelancer to Agency Owner After college in Louisiana, Jaci moved to Los Angeles and worked at Creative Artists Agency, where she got to be a part of the rebranding of Ticketmaster and USA Networks. Years later she moved home and worked in-house at an agency and then in-house for a client while starting a family. Things were going well, but Jaci knew she'd never get ahead being a W2 worker. The need for a more flexible schedule moved her to make a change to be a freelance media buyer. However, with clients coming in fast and being married to a graphic designer and copywriter, they had more clients than a small agency. They decided to make it official and dedicate themselves to the agency full-time. Eventually, they bought a building to expand their growing operations and 23 years later they have 20 employees serving clients across the country. Answering the Unasked Question “What Can You Do for Me?” Understanding your target audience is crucial for effective branding. Sadly, many agencies make the mistake of using industry terminology that excludes their target audience. It both fails to get the message across and makes the agency appear pretentious and out of touch. To create a successful brand that resonates with your target audience, you'll need a deep understanding of their needs, wants, and challenges. If you do this, you'll easily get in touch with how they talk. “SEO is great,” Jaci says “but when I see companies optimizing for their in-house terminology and the people they're trying to reach use a completely different set of terms. It's such an obvious disconnect!” Furthermore, many companies spend a lot of time talking about features and what they do. In reality, the question “What do you do?” is an opportunity to answer the unasked question “What can you do for me?” Focusing on this question allows you to answer not by talking about the company but about the solutions you provide. This approach will completely change your messaging and content. Now you'll be writing about something people care about; you'll be writing about them. It requires thorough market research, gathering insights, and analyzing data to gain valuable insights into the target audience's preferences and behaviors and use them effectively in your branding efforts. Understanding Your Clients and Communicate Accordingly Jaci believes in the power of understanding personality types of advertising. It helps her know what kind of results they need to deliver depending on the client. “When we're creating something that's targeting engineers or attorneys,” she says, “people are going to read all the details, we have to give them a lot of details”. If the client is an illustration type, they'll love pretty pictures and awards. For them, she finds ways to convey how the agency has been rewarded for great work, like clients sticking around for twelve years. On the other hand, logotypes look to their peers for endorsement of their choices, so they need case studies and testimonials. She knows one size doesn't fit all and it's all about building an emotional connection. However, at her agency, they use that knowledge of the target audience to craft something that'll connect with them. Strong Brands Aren't Bought, They're Earned You can spend a lot of money on advertising and buy attention, but Jaci believes strong brands must be earned. Agencies should be investing in research and understanding their target audience better than they know themselves. You have to understand why your audience is choosing who they're choosing. To create a memorable brand that people refer to, agencies need to ask questions and delve into why their audience is choosing their current solution or competitor. What's their disappointment with their current solution? By understanding their frustrations with their current provider, agencies can identify opportunities to offer a better solution. Changing habits is hard, so agencies need to give their audience a compelling reason to switch. This requires being better than the hassle of switching and providing a seamless and easy transition. Speed and convenience are important factors for customers when considering switching vendors. When it Comes to Proposals it's Quality Over Quantity Jaci often receives proposals from digital agencies and her advice for agency owners is “look at what you're sending out.” From where she's standing, they all sound alike and do not take into account her specific challenges and needs. In these cases, focus on quality over quantity. Take the time on each prospect. Jaci advises having fewer prospects that you know better to connect with them. They'll be more likely to say yes. Try changing the conversation with clients by offering a clarity call instead of just sending a proposal. This way, you'll get to know the client and their needs in a more personal and meaningful way. By taking these steps, you can win more deals faster and easier. Moreover, you can also eliminate prospects who may not be a good fit or who are simply wasting your time. It's a few baby steps to get to the big price instead of rushing and losing the opportunity to work with this person. Do You Want to Transform Your Agency from a Liability to an Asset? If you want to be around amazing agency owners who can see what you may not be able to see and help you grow your agency, go to Agency Mastery 360.  Our agency growth program helps you take a 360-degree view of your agency and gain mastery of the 3 pillar systems (attract, convert, scale) so you can create predictability, wealth, and freedom.

Publicly available contact details for the producers of Netflix' "How to Become a Cult Leader" are listed below.Feel free to use them as you'd like!Peter Dinklage: Rep'd through Creative Artists Agency-> +1(424) 288-2000 Aline Andrade: https://www.linkedin.com/in/aline-andrade/Jonah Bekhor: https://www.linkedin.com/in/jonah-bekhor-a4094024/Jonas Bell Pasht: https://www.linkedin.com/in/jonas-bell-pasht-3a84a812/Paul Dektor: https://twitter.com/DektorPaul; https://www.instagram.com/pauldektor/; pauldektor@mac.com; +1.323.466.3455 (email and phone number from his own website!)David Ginsberg: https://www.linkedin.com/in/david-ginsberg-57389731/Kellen Hertz: https://www.instagram.com/kellenhertz/; https://twitter.com/KellenWritesJessica Hyndman: https://twitter.com/JessicaHyndman; https://www.instagram.com/jessicahyndman_/Jake Laufer: https://www.linkedin.com/in/jake-laufer-917a139/; https://twitter.com/jakelauferNareg Momdjian: https://www.instagram.com/naregmomdjian/Brad Saunders: https://www.linkedin.com/in/brad-saunders-41349b9/Calvin Singh: https://www.linkedin.com/in/calvinjsingh/Russ Armstrong: Matt Short: https://www.linkedin.com/in/matthew-short-98b150133/Kira Fahmy: https://www.linkedin.com/in/kirafahmy/; https://www.instagram.com/kirafahmy/Support this show http://supporter.acast.com/falling-out. Hosted on Acast. See acast.com/privacy for more information.

Learn more at TheCityLife.org --- Send in a voice message: https://podcasters.spotify.com/pod/show/citylifeorg/message Support this podcast: https://podcasters.spotify.com/pod/show/citylifeorg/support

The tenth edition of the Rendez-vous littéraires rue Cambon [Literary Rendezvous at Rue Cambon] was held at the Metrograph Theater, in New York City. CHANEL and Charlotte Casiraghi, ambassador and spokesperson for the House, invited writer and essayist Siri Hustvedt, author of multiple novels and prestigious award winnings essays, along with novelist, poet and photographer Rachel Eliza Griffiths.Animated by author and critic Erica Wagner, this encounter dedicated to Siri Hustvedt evokes the powers of literature, its capacity to open social outlets and the relationship between the author and the reader. Together, they also discuss the nature of time and the mind-body connection Siri Hustvedt questions in her work.A musical performance by singer-songwriter Sophie Auster, accompanied by pianist Marie Davy, punctuated the conversation.Siri Hustvedt, The Blindfold, © Sceptre, an imprint of Hodder & Stoughton Limited, 2010.THE BLINDFOLD, Copyright © 1992 by Siri Hustvedt Reprinted by permission of Creative Artists AgencySiri Hustvedt, What I Loved, © Sceptre, an imprint of Hodder & Stoughton Limited, 2003.WHAT I LOVED by Siri Hustvedt Copyright © 2003 by Siri Hustvedt Reprinted by permission of Siri Hustvedt and Creative Artists AgencySiri Hustvedt, What I Loved, © Picador US, 2003. All Rights Reserved.Siri Hustvedt, The Blazing World, © Simon & Schuster, 2014.THE BLAZING WORLD, Copyright © 2014 by Siri Hustvedt Reprinted by permission of Creative Artists AgencySiri Hustvedt, Memories of the Future, © Simon & Schuster, 2019.MEMORIES OF THE FUTURE, Copyright © 2019 by Siri Hustvedt Reprinted by permission of Creative Artists AgencySiri Hustvedt, A Woman Looking at Men Looking at Women: Essays on Art, Sex, and the Mind, © Simon & Schuster, 2017.A WOMAN LOOKING AT MEN LOOKING AT WOMEN by Siri Hustvedt Copyright © 2016 by Siri Hustvedt Reprinted by permission of Siri Hustvedt and Creative Artists AgencySiri Hustvedt, Mothers, Fathers, and Others, © Simon & Schuster, 2022.MOTHERS, FATHERS, and OTHERS, Copyright © 2021 by Siri Hustvedt Reprinted by permission of Creative Artists AgencySiri Hustvedt, The Shaking Woman or A History of My Nerves, Copyright © 2009 by Siri Hustvedt.THE SHAKING WOMAN or A HISTORY OF MY NERVES, Copyright © 2009 by Siri Hustvedt Reprinted by permission of Creative Artists Agency© Cornell University. Weill Cornell Medicine.© The Gabarron Foundation.© Fundacion Princesa de Asturias.Rachel Eliza Griffiths, PROMISE, © Rachel Eliza Griffiths, Random House, 2023.Rachel Eliza Griffiths, Seeing the Body, © W.W. Norton Company, 2020.© Hurston/Wright Foundation.© Paterson Poetry Prize.© NAACP Image Award.© Cave Canem Foundation Inc.© Kimbilio.© Fine Arts Work Center in Provincetown.© Yaddo.© The New York Times Company. All rights reserved. Used under license.© The New Yorker.© Tin House.© The Washington Post. All rights reserved.© Royal Crown Cola, All rights reserved.Siri Hustvedt, The Delusions of Certainty, © Simon & Schuster, 2017.THE DELUSIONS OF CERTAINTY by Siri Hustvedt Copyright © 2017 by Siri Hustvedt Reprinted by permission of Siri Hustvedt and Creative Artists Agency.© LITHUB.Rachel Eliza Griffiths in Cover reveal: See the cover for Rachel Eliza Griffiths's Promise, © LITHUB, February 23, 2023.Toni Morrison, Beloved, Penguin, 2004.Sophie Auster – “Hey, Girlfriend” © Sophie Auster, Nick Block, 2022.Excerpted from: Uses of the Erotic by Audre Lorde/ SISTER OUTSIDER – Essays and Speeches by Audre Lorde, published by Crossing Press/Penguin RandomHouse Inc. New York, © 1984,2007 by Audre Lorde. Used by permission of the Charlotte Sheedy Literary Agency.

Phantom Electric Ghost Interviews Gerard Longo Founder & CEO of Underground Music Collective How emerging artists can grow awareness of their music Biography Every Underground movement needs a leader who knows what it takes to rise through adversity. Gerard Longo is that leader. Gerard's experiences as a scrappy, undersized football player helped him to forge a temperament rooted in hard work, determination, and a gritty, UnderDog spirit. The lessons Gerard learned throughout a decade-plus on the gridiron have served him throughout his life, beginning at age 16, when a malignant soft tissue sarcoma in his left ring finger threatened to put an end to his playing days– and much more. It was this brief, yet harrowing experience – and Gerard's rapid, post-surgical recovery – that reinforced Gerard's fighting spirit, and helped him understand the opportunity for impact that is provided to us by being alive. Currently, those lessons inform Gerard's journey as an entrepreneur. Gerard is the Founder/CEO of Underground Music Collective (UMC), a Nashville-based music publication and multimedia services company built from the ground up. UMC provides an ecosystem designed to empower independent musicians and creatives through content features, live events, educational opportunities, and much more. Since launching as a regional publication in Bethlehem, PA in 2016, UMC has partnered with regional, national, and global brands, including Universal Music Group, Red Bull, the Tennessee Titans,Creative Artists Agency, Redfin Real Estate, and countless others.In addition, Gerard has hosted The Quinn Spinn podcast since 2013. The Quinn Spinn features conversations with musicians, creative entrepreneurs, and real humans who aspire to have a positiveimpact. As time goes on, more people are hearing those conversations; in 2022, The Quinn Spinn waswithin the top 5% of most-shared podcasts across all of Spotify. Across many years, passions, and projects, one thing has proven to be certain: if there's a challenge on the horizon, you can count on Gerard Longo to meet it. Link: https://www.undergroundmusiccollective.com/ Visit the website to learn more about UMC and how it can help indie artists build their music platform. Also, as UMC is finally sponsored, donate to the initiative to help support new programming and resources dedicated to the underground artist. Support PEG by checking out our Sponsors: Download and use Newsly for free now from www.newsly or from the link in the description, and use promo code “GHOST” and receive a 1-month free premium subscription. The best tool for finding guest for your podcast: https://podmatch.com/signup/phantomelectricghost Subscribe to our YouTube to watch our latest podcasts and musical endeavours. https://youtube.com/@phantomelectricghost Subscribe to our Instagram to get exclusive content: https://www.instagram.com/expansive_sound_experiments/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/phantom-electric/message

MisterWives are a 5 piece indie pop/rock band originally formed in 2012 in New York, when lead singer Mandy Lee wanted an 80s cover band for her prom themed 18th birthday party. Guitarist William Hehir stepped up to help, enlisting a few of his musician friends and before long the whole group were writing original music together.After a few initial shows around New York, the band were signed at one pivotal show at the now closed Canal Room venue in Manhattan.Join Jay and Jesse for the full discussion on how this band got together, wrote their material, and released multiple albums to critical accliam."Roots to Grooves" is a production of SIGNL.https://www.signlradio.comhttps://www.instagram.com/signlradiohttps://www.twitter.com/signlradiohttps://www.facebook.com/signlradiohttps://www.mixcloud.com/signlhttps://open.spotify.com/user/96mhz6qfjoztxbl2dpm0uj903?si=aAZpsoEnRAKdx85kr1QWhg

Sometimes a chat with a friend is the order of the day. In this episode, Gary is joined by his friend Raffaella Braun with Triple Tigers Records to discuss current trends in the music industry and how these trends impact artists. In this episode:Social Media vs. Ratings The Competitive Nature of the Music IndustryHow the Music Industry Had Changed Commentary on Various Artists and What They Add to Country Music Maintaining A Connection with the Audience When Life Happens About Raffaella:Raffaella Braun has built a multi-faceted career with a wide range of experience in the music business. She started with Premiere Radio Networks and Westwood One in 2002 (through 2009), handling live radio remote logistics around such major music events as the ACM Awards, CMA Awards, CMA Music Festival, and Grammy Awards, among others. Always possessing a passion for music and live concerts, she moved on to Creative Artists Agency in 2003 and became an Agent in 2008, negotiating concert deals and contracts, seeking out new talent, and executing promotions for a roster of 60+ Country and Classic Rock artists. She collaborated on projects with the CAA Sports division and LA clients like Pete Wentz.  In 2011, she moved to the Radio Promotion realm and began an eight-year run with Warner Music Nashville as Manager of West Coast Radio and Streaming, winning the Regional of the Year Award in its 2nd year of existence.  She returned to Nashville in 2019 to Triple Tigers Records as their first-ever National Director of Promotion.  There, she has assisted in guiding their artists to an additional 5 #1 singles, a Top 10 record, and breaking Billboard records for consecutive #1s (Scotty McCreery) and weeks in the Top 10 (Russell Dickerson). Braun won Country Aircheck's National Director of the Year Award (Crystal Microphone) in Feb 2022, the same year Triple Tigers won its 2nd award for Gold Label of the Year. A 2002 graduate of Vanderbilt U., Braun is a member of both the Academy of Country Music (serving on the Special Events Committee from 2010-2014) and the Country Music Association, as well as an alum of SOLID. She served on the CRS Agenda Committee in 2016-2017 and again in 2017-2018 for the 50th year of CRS. A finalist for the 2008 Nashville Emerging Leader Awards, she went on to create Music Row Madness, an industry bowling event to raise funds for Big Brothers Big Sisters of Middle TN, which is now hosted by SOLID and grew last year to $50,000. Since 2017, she has helped Musicians on Call expand their volunteer mission at Phoenix Children's Hospital, and now as a Nashville guide and she sits on the Boards of the TN Innocence Project and The Collective Nashville (Gerald Allen Scholarship Fund).www.GaryScottThomas.com

Rachel and Simon speak with the literary agent Karolina Sutton. After a brief stint in advertising, she got a job as an agents' assistant and quickly started putting together her own list. She has worked with authors including Margaret Atwood, Ed Caesar, Anthony Doerr, Haruki Murakami, Tara Westover and Malala Yousafzai. In 2020 she won Agent of the Year at the British Book Awards. Earlier this year she moved from Curtis Brown to CAA. We spoke to Karolina about moving from advertising to agenting, working with high-profile clients and what she looks for in a book proposal. You can find us online at alwaystakenotes.com, on Twitter @takenotesalways and on Instagram @alwaystakenotes. Our crowdfunding page is patreon.com/alwaystakenotes. Always Take Notes is presented by Simon Akam and Rachel Lloyd, and produced by Artemis Irvine. Our music is by Jessica Dannheisser and our logo was designed by James Edgar.

This week, we talk about the 1980s Marvel Cinematic Universe that could have been, and eventually was. ----more---- TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   The Marvel Cinematic Universe is the undisputed king of intellectual property in the entertainment industry. As of February 9th, 2023, the day I record this episode, there have been thirty full length motion pictures part of the MCU in the past fifteen years, with a combined global ticket sales of $28 billion, as well as twenty television shows that have been seen by hundreds of millions of people worldwide. It is a entertainment juggernaut that does not appear to be going away anytime soon.   This comes as a total shock to many of us who grew up in the 1970s and 1980s, who were witness of cheaply produced television shows featuring hokey special effects and a roster of has-beens and never weres in the cast. Superman was the king of superheroes at the movies, in large part because, believe it or not, there hadn't even been a movie based on a Marvel Comics character released into theatres until the summer of 1986. But not for lack of trying.   And that's what we're going to talk about today. A brief history of the Marvel Cinematic Universe in the 1980s.       But first, as always, some backstory.   Now, I am not approaching this as a comic fan. When I was growing up in the 80s, I collected comics, but my collection was limited to Marvel's Star Wars series, Marvel's ROM The SpaceKnight, and Marvel's two-issue Blade Runner comic adaptation in 1982. So I apologize to Marvel comics fans if I relay some of this information incorrectly. I have tried to do my due diligence when it comes to my research.   Marvel Comics got its start as Timely Comics back in 1939. On August 31, 1939, Timely would release its first comic, titled Marvel Comics, which would feature a number of short stories featuring versions of characters that would become long-running staples of the eventual publishing house that would bear the comic's name, including The Angel, a version of The Human Torch who was actually an android hero, and Namor the Submariner, who was originally created for a unpublished comic that was supposed to be given to kids when they attended their local movie theatre during a Saturday matinee.   That comic issue would quickly sell out its initial 80,000 print run, as well as its second run, which would put another 800,000 copies out to the marketplace. The Vision would be another character introduced on the pages of Marvel Comics, in November 1940.   In December 1940, Timely would introduce their next big character, Captain America, who would find instant success thanks to its front cover depicting Cap punching Adolph Hitler square in the jaw, proving that Americans have loved seeing Nazis get punched in the face even a year before our country entered the World War II conflict. But there would be other popular characters created during this timeframe, including Black Widow, The Falcon, and The Invisible Man.   In 1941, Timely Comics would lose two of its best collaborators, artists Joe Simon and Jack Kirby, to rival company Detective Comics, and Timely owner Martin Goodman would promote one of his cousins, by marriage to his wife Jean no less, to become the interim editor of Timely Comics. A nineteen year old kid named Stanley Lieber, who would shorten his name to Stan Lee.   In 1951, Timely Comics would be rebranded at Atlas Comics, and would expand past superhero titles to include tales of crime, drama, espionage, horror, science fiction, war, western, and even romance comics.   Eventually, in 1961, Atlas Comics would rebrand once again as Marvel Comics, and would find great success by changing the focus of their stories from being aimed towards younger readers and towards a more sophisticated audience. It would be November 1961 when Marvel would introduce their first superhero team, The Fantastic Four, as well as a number of their most beloved characters including Black Panther, Carol Danvers, Iron Man, The Scarlet Witch, Spider-Man, and Thor, as well as Professor X and many of the X-Men.   And as would be expected, Hollywood would come knocking. Warner Brothers would be in the best position to make comic book movies, as both they and DC Comics were owned by the same company beginning in 1969. But for Marvel, they would not be able to enjoy that kind of symbiotic relationship. Regularly strapped for cash, Stan Lee would often sell movie and television rights to a variety of Marvel characters to whomever came calling. First, Marvel would team with a variety of producers to create a series of animated television shows, starting with The Marvel Super Heroes in 1966, two different series based on The Fantastic Four, and both Spider-Man and Spider-Woman series.   But movies were a different matter.   The rights to make a Spider-Man television show, for example, was sold off to a production company called Danchuck, who teamed with CBS-TV to start airing the show in September of 1977, but Danchuck was able to find a loophole in their contract  that allowed them to release the two-hour pilot episode as a movie outside of the United States, which complicated the movie rights Marvel had already sold to another company.   Because the “movie” was a success around the world, CBS and Danchuck would release two more Spider-Man “movies” in 1978 and 1981. Eventually, the company that owned the Spider-Man movie rights to sell them to another company in the early 1980s, the legendary independent B-movie production company and distributor, New World Pictures, founded and operated by the legendary independent B-movie producer and director Roger Corman. But shortly after Corman acquired the film rights to Spider-Man, he went and almost immediately sold them to another legendary independent B-movie production company and distributor, Cannon Films.   Side note: Shortly after Corman sold the movie rights to Spider-Man to Cannon, Marvel Entertainment was sold to the company that also owned New World Pictures, although Corman himself had nothing to do with the deal itself. The owners of New World were hoping to merge the Marvel comic book characters with the studio's television and motion picture department, to create a sort of shared universe. But since so many of the better known characters like Spider-Man and Captain America had their movie and television rights sold off to the competition, it didn't seem like that was going to happen anytime soon, but again, I'm getting ahead of myself.   So for now, we're going to settle on May 1st, 1985. Cannon Films, who loved to spend money to make money, made a big statement in the pages of the industry trade publication Variety, when they bought nine full pages of advertising in the Cannes Market preview issue to announce that buyers around the world needed to get ready, because he was coming.   Spider-Man.   A live-action motion picture event, to be directed by Tobe Hooper, whose last movie, Poltergeist, re-ignited his directing career, that would be arriving in theatres for Christmas 1986. Cannon had made a name for themselves making cheapie teen comedies in their native Israel in the 1970s, and then brought that formula to America with films like The Last American Virgin, a remake of the first Lemon Popsicle movie that made them a success back home. Cannon would swerve into cheapie action movies with fallen stars like Lee Marvin and Charles Bronson, and would prop up a new action star in Chuck Norris, as well as cheapie trend-chasing movies like Breakin' and Breakin' 2: Electric Boogaloo. They had seen enough success in America where they could start spending even bigger, and Spider-Man was supposed to be their first big splash into the superhero movie genre. With that, they would hire Leslie Stevens, the creator of the cult TV series The Outer Limits, to write the screenplay.   There was just one small problem.   Neither Stevens nor Cannon head honcho Menachem Golan understood the Spider-Man character.   Golan thought Spider-Man was a half-spider/half-man creature, not unlike The Wolf Man, and instructed Stevens to follow that concept. Stevens' script would not really borrow from any of the comics' twenty plus year history. Peter Parker, who in this story is a twenty-something ID photographer for a corporation that probably would have been Oscorp if it were written by anyone else who had at least some familiarity with the comics, who becomes intentionally bombarded with gamma radiation by one of the scientists in one of the laboratories, turning Bruce Banner… I mean, Peter Parker, into a hairy eight-armed… yes, eight armed… hybrid human/spider monster. At first suicidal, Bruce… I mean, Peter, refuses to join forces with the scientist's other master race of mutants, forcing Peter to battle these other mutants in a basement lab to the death.   To say Stan Lee hated it would be an understatement.   Lee schooled Golan and Golan's partner at Cannon, cousin Yoram Globus, on what Spider-Man was supposed to be, demanded a new screenplay. Wanting to keep the head of Marvel Comics happy, because they had big plans not only for Spider-Man but a number of other Marvel characters, they would hire the screenwriting team of Ted Newsom and John Brancato, who had written a screenplay adaptation for Lee of Sgt. Fury and His Howling Commandos, to come up with a new script for Spider-Man.   Newsom and Brancato would write an origin story, featuring a teenage Peter Parker who must deal with his newfound powers while trying to maintain a regular high school existence, while going up against an evil scientist, Otto Octavius. But we'll come back to that later.   In that same May 1985 issue of Variety, amongst dozens of pages of ads for movies both completed and in development, including three other movies from Tobe Hooper, was a one-page ad for Captain America. No director or actor was attached to the project yet, but comic book writer James L. Silke, who had written the scripts for four other Cannon movies in the previous two years, was listed as the screenwriter.   By October 1985, Cannon was again trying to pre-sell foreign rights to make a Spider-Man movie, this time at the MIFED Film Market in Milan, Italy. Gone were Leslie Stevens and Tobe Hooper. Newsom and Brancato were the new credited writers, and Joseph Tito, the director of the Chuck Norris/Cannon movies Missing in Action and Invasion U.S.A., was the new director. In a two-page ad for Captain America, the film would acquire a new director in Michael Winner, the director of the first three Death Wish movies.   And the pattern would continue every few months, from Cannes to MIFED to the American Film Market, and back to Cannes. A new writer would be attached. A new director. A new release date. By October 1987, after the twin failures of Superman IV: The Quest for Peace and Masters of the Universe, Cannon had all but given up on a Captain America movie, and downshifted the budget on their proposed Spider-Man movie. Albert Pyun, whose ability to make any movie in any genre look far better than its budget should have allowed, was brought in to be the director of Spider-Man, from a new script written by Shepard Goldman.   Who?   Shepard Goldman, whose one and only credit on any motion picture was as one of three screenwriters on the 1988 Cannon movie Salsa.   Don't remember Salsa? That's okay. Neither does anyone else.   But we'll talk a lot more about Cannon Films down the road, because there's a lot to talk about when it comes to Cannon Films, although I will leave you with two related tidbits…   Do you remember the 1989 Jean-Claude Van Damme film Cyborg? Post-apocalyptic cyberpunk martial-arts action film where JCVD and everyone else in the movie have names like Gibson Rickenbacker, Fender Tremolo, Marshall Strat and Pearl Prophet for no damn good reason? Stupid movie, lots of fun. Anyway, Albert Pyun was supposed to shoot two movies back to back for Cannon Films in 1988, a sequel to Masters of the Universe, and Spider-Man. To save money, both movies would use many of the same sets and costumes, and Cannon had spent more than $2m building the sets and costumes at the old Dino DeLaurentiis Studios in Wilmington, North Carolina, where David Lynch had shot Blue Velvet. But then Cannon ran into some cash flow issues, and lost the rights to both the He-Man toy line from Mattel and the Spider-Man characters they had licensed from Marvel. But ever the astute businessman, Cannon Films chairman Menahem Golan offered Pyun $500,000 to shoot any movie he wanted using the costumes and sets already created and paid for, provided Pyun could come up with a movie idea in a week. Pyun wrote the script to Cyborg in five days, and outside of some on-set alterations, that first draft would be the shooting script. The film would open in theatres in April 1989, and gross more than $10m in the United States alone.   A few months later, Golan would gone from Cannon Films. As part of his severance package, he would take one of the company's acquisitions, 21st Century Films, with him, as well as several projects, including Captain America. Albert Pyun never got to make his Spider-Man movie, but he would go into production on his Captain America in August 1989. But since the movie didn't get released in any form until it came out direct to video and cable in 1992, I'll leave it to podcasts devoted to 90s movies to tell you more about it. I've seen it. It's super easy to find on YouTube. It really sucks, although not as much as that 1994 version of The Fantastic Four that still hasn't been officially released nearly thirty years later.   There would also be attempts throughout the decade to make movies from the aforementioned Fantastic Four, the X-Men, Daredevil, the Incredible Hulk, Silver Surfer and Iron Man, from companies like New Line, 20th Century-Fox and Universal, but none of those would ever come to fruition in the 1980s.   But the one that would stick?   Of the more than 1,000 characters that had been featured in the pages of Marvel Comics over the course of forty years?   The one that would become the star of the first ever theatrically released motion picture based on a Marvel character?   Howard the Duck.   Howard the Duck was not your average Marvel superhero.   Howard the Duck wasn't even a superhero.   He was just some wise crackin', ill-tempered, anthropomorphic water fowl that was abducted away from his home on Duckworld and forced against his will to live with humans on Earth. Or, more specifically, first with the dirty humans of the Florida Everglades, and then Cleveland, and finally New York City.    Howard the Duck was metafiction and existentialist when neither of these things were in the zeitgeist. He smoked cigars, wore a suit and tie, and enjoy drinking a variety of libations and getting it on with the women, mostly his sometimes girlfriend Beverly.   The perfect character to be the subject of the very first Marvel movie.   A PG-rated movie.   Enter George Lucas.   In 1973, George Lucas had hit it big with his second film as a director, American Graffiti. Lucas had written the screenplay, based in part on his life as an eighteen year old car enthusiast about to graduate high school, with the help of a friend from his days at USC Film School, Willard Huyck, and Huyck's wife, Gloria Katz. Lucas wanted to show his appreciation for their help by producing a movie for them. Although there are variations to the story of how this came about, most sources say it was Huyck who would tell Lucas about this new comic book character, Howard the Duck, who piqued his classmate's interest by describing the comic as having elements of film noir and absurdism.   Because Universal dragged their feet on American Graffiti, not promoting it as well as they could have upon its initial release and only embracing the film when the public embraced its retro soundtrack, Lucas was not too keen on working with Universal again on his next project, a sci-fi movie he was calling The Journal of the Whills. And while they saw some potential in what they considered to be some minor kiddie movie, they didn't think Lucas could pull it off the way he was describing it for the budget he was asking for.   “What else you got, kid?” they'd ask.   Lucas had Huyck and Katz, and an idea for a live-action comic book movie about a talking duck.   Surprisingly, Universal did not slam the door shut in Lucas's face. They actually went for the idea, and worked with Lucas, Stan Lee of Marvel Comics and Howard's creator, Steve Gerber, to put a deal together to make it happen.   Almost right away, Gerber and the screenwriters, Huyck and Katz, would butt heads on practically every aspect of the movie's storyline. Katz just thought it was some funny story about a duck from outer space and his wacky adventures on Earth, Gerber was adamant that Howard the Duck was an existential joke, that the difference between life's most serious moments and its most incredibly dumb moments were only distinguishable by a moment's point of view. Huyck wanted to make a big special effects movie, while Katz thought it would be fun to set the story in Hawaii so she and her husband could have some fun while shooting there. The writers would spend years on their script, removing most everything that made the Howard the Duck comic book so enjoyable to its readers. Howard and his story would be played completely straight in the movie, leaning on subtle gags not unlike a Zucker/Abrahams/Zucker movie, instead of embracing the surreal ridiculousness of the comics. They would write humongous effects-heavy set pieces, knowing they would have access to their producer's in-house special effects team, Industrial Light and Magic, instead of the comics' more cerebral endings. And they'd tone down the more risqué aspects of Howard's personality, figuring a more family-friendly movie would bring in more money at the box office.   It would take nearly twelve years for all the pieces to fall into place for Howard the Duck to begin filming. But in the spring of 1985, Universal finally gave the green light for Lucas and his tea to finally make the first live-action feature film based on a Marvel Comics character.   For Beverly, the filmmakers claimed to have looked at every young actress in Hollywood before deciding on twenty-four year old Lea Thompson, who after years of supporting roles in movies like Jaws 3-D, All the Right Moves and Red Dawn, had found success playing Michael J. Fox's mother in Back to the Future. Twenty-six year old Tim Robbins had only made two movies up to this point, at one of the frat boys in Fraternity Vacation and as one of the fighter pilots in Top Gun, and this was his first chance to play a leading role in a major motion picture. And Jeffrey Jones would be cast as the bad guy, the Dark Overlord, based upon his work in the 1984 Best Picture winner Amadeus, although he would be coming to the set of Howard the Duck straight off of working on a John Hughes movie, Ferris Bueller's Day Off.   Howard the Duck would begin shooting on the Universal Studios lot of November 11th, 1985, and on the very first day of production, the duck puppet being used to film would have a major mechanical failure, not unlike the mechanical failure of the shark in Jaws that would force Steven Spielberg to become more creative with how he shot that character. George Lucas, who would be a hands-on producer, would suggest that maybe they could shoot other scenes not involving the duck, while his crew at ILM created a fully functional, life-sized animatronic duck costume for a little actor to wear on set. At first, the lead actor in the duck suit was a twelve-year old boy, but within days of his start on the film, he would develop a severe case of claustrophobia inside the costume. Ed Gale, originally hired to be the stuntman in the duck costume, would quickly take over the role. Since Gale could work longer hours than the child, due to the very restrictive laws surrounding child actors on movie and television sets, this would help keep the movie on a good production schedule, and make shooting the questionable love scenes between Howard and Beverly easier for Ms. Thompson, who was creeped out at the thought of seducing a pre-teen for a scene.   To keep the shoot on schedule, not only would the filmmakers employ a second shooting unit to shoot the scenes not involving the main actors, which is standard operating procedure on most movies, Lucas would supervise a third shooting unit that would shoot Robbins and Gale in one of the film's more climactic moments, when Howard and Phil are trying to escape being captured by the authorities by flying off on an ultralight plane. Most of this sequence would be shot in the town of Petaluma, California, on the same streets where Lucas had shot American Graffiti's iconic cruising scenes thirteen years earlier.   After a month-long shoot of the film's climax at a naval station in San Francisco, the film would end production on March 26th, 1986, leaving the $36m film barely four months to be put together in order to make its already set in stone August 1st, 1986, release date.   Being used to quick turnaround times, the effects teams working on the film would get all their shots completed with time to spare, not only because they were good at their jobs but they had the ability to start work before the film went into production. For the end sequence, when Jones' character had fully transformed into the Dark Overlord, master stop motion animator Phil Tippett, who had left ILM in 1984 to start his own effects studio specializing in that style of animation, had nearly a year to put together what would ultimately be less than two minutes of actual screen time.   As Beverly was a musician, Lucas would hire English musician and composer Thomas Dolby, whose 1982 single She Blinded Me With Science became a global smash hit, to write the songs for Cherry Bomb, the all-girl rock group lead by Lea Thompson's Beverly. Playing KC, the keyboardist for Cherry Bomb, Holly Robinson would book her first major acting role. For the music, Dolby would collaborate with Allee Willis, the co-writer of Earth Wind and Fire's September and Boogie Wonderland, and funk legend George Clinton. But despite this powerhouse musical trio, the songs for the band were not very good, and, with all due respect to Lea Thompson, not very well sung.   By August 1986, Universal Studios needed a hit. Despite winning the Academy Award for Best Picture in March with Sydney Pollack's Out of Africa, the first six films they released for the year were all disappointments at the box office and/or with the critics.    The Best of Times, a comedy featuring Robin Williams and Kurt Russell as two friends who try to recreate a high school football game which changed the direction of both their lives. Despite a script written by Ron Shelton, who would be nominated for an Oscar for his next screenplay, Bull Durham, and Robin Williams, the $12m film would gross less than $8m.    The Money Pit, a comedy with Tom Hanks and Shelley Long, would end up grossing $37m against a $10m budget, but the movie was so bad, its first appearance on DVD wouldn't come until 2011, and only as part of a Tom Hanks Comedy Favorites Collection along with The ‘Burbs and Dragnet.   Legend, a dark fantasy film directed by Ridley Scott and starring Tom Cruise, was supposed to be one of the biggest hits… of 1985. But Scott and the studio would fight over the film, with the director wanting them to release a two hour and five minute long version with a classical movie score by Jerry Goldsmith, while the studio eventually cut the film down an hour and twenty-nine minutes with a techno score by Tangerine Dream. Despite an amazing makeup job transforming Tim Curry into the Lord of Darkness as well as sumptuous costumes and cinematography, the $24.5m film would just miss recouping its production budget back in ticket sales.   Tom Cruise would become a superstar not three weeks later, when Paramount Pictures released Top Gun, directed by Ridley's little brother Tony Scott.   Sweet Liberty should have been a solid performer for the studio. Alan Alda, in his first movie since the end of MASH three years earlier, would write, direct and star in this comedy about a college history professor who must watch in disbelief as a Hollywood production comes to his small town to film the movie version of one of the books. The movie, which also starred Michael Caine, Bob Hoskins, Michelle Pfieffer and screen legend Lillian Gish, would get lost in the shuffle of other comedies that were already playing in theatres like Ferris Bueller and Short Circuit.   Legal Eagles was the movie to beat for the summer of 1986… at least on paper. Ivan Reitman's follow-up film to Ghostbusters would feature a cast that included Robert Redford, Debra Winger and Daryl Hannah, along with Brian Denny, Terence Stamp, and Brian Doyle-Murray, and was perhaps too much movie, being a legal romantic comedy mystery crime thriller.   Phew.   If I were to do an episode about agency packaging in the 1980s, the process when a talent agency like Creative Artists Agency, or CAA, put two or more of their clients together in a project not because it might be best for the movie but best for the agency that will collect a 10% commission from each client attached to the project, Legal Eagles would be the example of packaging gone too far. Ivan Reitman was a client of CAA. As were Redford,  and Winger, and Hannah. As was Bill Murray, who was originally cast in the Redford role. As were Jim Cash and Jack Epps, the screenwriters for the film. As was Tom Mankewicz, the co-writer of Superman and three Bond films, who was brought in to rewrite the script when Murray left and Redford came in. As was Frank Price, the chairman of Universal Pictures when the project was put together. All told, CAA would book more than $1.5m in commissions for themselves from all their clients working on the film.   And it sucked.   Despite the fact that it had almost no special effects, Legal Eagles would cost $40m to produce, one of the most expensive movies ever made to that point, nearly one and a half times the cost of Ghostbusters. The film would gross nearly $50m in the US, which would make it only the 14th highest grossing film of the year. Less than Stand By Me. Less than The Color of Money. Less than Down and Out in Beverly Hills.   And then there was Psycho III, the Anthony Perkins-directed slasher film that brought good old Norman Bates out of mothballs once again. An almost direct follow-up to Psycho II from 1983, the film neither embraced by horror film fans or critics, the film would only open in eighth place, despite the fact there hadn't been a horror movie in theatres for months, and its $14m gross would kill off any chance for a Psycho IV in theatres.   In late June, Universal would hold a series of test screenings for Howard the Duck. Depending on who you talk to, the test screenings either went really well, or went so bad that one of the writers would tear up negative response cards before they could be given to the score compilers, to goose the numbers up, pun only somewhat intended. I tend to believe the latter story, as it was fairly well reported at the time that the test screenings went so bad, Sid Sheinberg, the CEO of Universal, and Frank Price, the President of the studio, got into a fist fight in the lobby of one of the theatres running one of the test screenings, over who was to blame for this impending debacle.   And a debacle it was.   But just how bad?   So bad, copywriters from across the nation reveled in giddy glee over the chances to have a headline that read “‘Howard the Duck' Lays an Egg!”   And it did.   Well, sort of.   When it opened in 1554 theatres on August 1st, the film would gross $5.07m, the second best opener of the weekend, behind the sixth Friday the 13th entry, and above other new movies like the Tom Hanks/Jackie Gleason dramedy Nothing in Common and the cult film in the making Flight of the Navigator. And $5m in 1986 was a fairly decent if unspectacular opening weekend gross. The Fly was considered a massive success when it opened to $7m just two weeks later. Short Circuit, which had opened to $5.3m in May, was also lauded as being a hit right out of the gate.   And the reviews were pretty lousy. Gene Siskel gave the film only one star, calling it a stupid film with an unlikeable lead in the duck and special effects that were less impressive than a sparkler shoved into a birthday cake. Both Siskel and Ebert would give it the dreaded two thumbs down on their show. Leonard Maltin called the film hopeless. Today, the film only has a 14% rating on Rotten Tomatoes with 81 reviews.   But despite the shellacking the film took, it wouldn't be all bad for several of the people involved in the making of the film.   Lea Thompson was so worried her career might be over after the opening weekend of the film, she accepted a role in the John Hughes movie Some Kind of Wonderful that she had turned down multiple times before. As I stated in our March 2021 episode about that movie, it's my favorite of all John Hughes movies, and it would lead to a happy ending for Thompson as well. Although the film was not a massive success, Thompson and the film's director, Howard Deutch, would fall in love during the making of the film. They would marry in 1989, have two daughters together, and as of the writing of this episode, they are still happily married.   For Tim Robbins, it showed filmmakers that he could handle a leading role in a movie. Within two years, he would be starring alongside Kevin Costner and Susan Sarandon in Bull Durham, and he career would soar for the next three decades.   And for Ed Gale, his being able to act while in a full-body duck suit would lead him to be cast to play Chucky in the first two Child's Play movies as well as Bride of Chucky.   Years later, Entertainment Weekly would name Howard the Duck as the biggest pop culture failure of all time, ahead of such turkeys as NBC's wonderfully ridiculous 1979 show Supertrain, the infamous 1980 Western Heaven's Gate, Warren Beatty and Dustin Hoffman's Ishtar, and the truly wretched 1978 Bee Gees movie Sgt. Pepper's Lonely Hearts Club Band.   But Howard the Duck, the character, not the movie, would enjoy a renaissance in 2014, when James Gunn included a CG-animated version of the character in the post-credit sequence for Guardians of the Galaxy. The character would show up again in the Disney animated Guardians television series, and in the 2021 Disney+ anthology series Marvel's What If…   There technically would be one other 1980s movie based on a Marvel character, Mark Goldblatt's version of The Punisher, featuring Dolph Lundgren as Frank Castle. Shot in Australia in 1988, the film was supposed to be released by New World Pictures in August of 1989. The company even sent out trailers to theatres that summer to help build awareness for the film, but New World's continued financial issues would put the film on hold until April 1991, when it was released directly to video by Live Entertainment.   It wouldn't be until the 1998 release of Blade, featuring Wesley Snipes as the titular vampire, that movies based on Marvel Comics characters would finally be accepted by movie-going audiences. That would soon be followed by Bryan Singer's X-Men in 2000, and Sam Raimi's Spider-Man in 2002, the success of both prompting Marvel to start putting together the team that would eventually give birth to the Marvel Cinematic Universe we all know and love today.   Thank you for joining us. We'll talk again soon, when Episode 102, the first of two episodes about the 1980s distribution company Vestron Pictures, is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Howard the Duck, and the other movies, both existing and non-existent, we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Please SUPPORT my SHOW, SUBSCRIBE to the NEWSLETTER, ENTER in the GIVEAWAYS https://www.chonacas.com/contact/   Persian blood, CAA & Tom Ford  For the actor, the artist journey in entertainment  Follow the fun, the excitement, the power of finding your voice. Knowing your audience, desired out come Born and raised in Los Angeles, Chloe grew up enamored by the movie business, and did whatever it took to get her foot through that very narrow door. After beginning her career in the windowless mailroom of Creative Artists Agency, Chloe's first role above the basement level of the agency was in the motion picture film finance and sales department. There she learned about the foundation of putting together a film, working with independent financiers and producers. Chloe then transitioned into the motion picture talent department, where she was able to fulfill her passion of working closely with some of the industry's brightest stars. After getting a taste of being at the center of the industry, Chloe took an opportunity to segue into a different role, managing renowned fashion designer and film director Tom Ford's new LA-based studio, where she had firsthand experience working directly with a fashion and business legend. After years of working for institutions like CAA and Tom Ford, Chloe was ready for a change of pace and took on roles in the talent partnerships space at some of tech's buzziest startups, including Verishop and now Bright, where she runs talent and brand partnerships strategy. Bright is a platform for live, interactive learning sessions with icons and experts alike, from Deepak Chopra to Madonna.   We deep dive into: - perseverance and always finding another way to get in - taking the windy path to getting where you want to go and trusting the process / journey - the importance of relationships and aligning yourself with the right people who you could learn from, openness to any opportunity - bright live company website: brightlive.com   YT: https://www.youtube.com/@katiechonacas7079    Social media links: https://twitter.com/katiechonacas https://twitter.com/culturekidsxyz https://www.instagram.com/chonacas https://www.linkedin.com/in/katiechonacas Voiceover Reel: https://www.chonacas.com/voiceover/   Disclaimer: None of the information in the podcast should be considered as a financial advice. Always do your own research.  

On today's episode of All in the Industry®, Shari Bayer's guest is Andrew Chason, Co-Founder of FRESH MGMT, which manages the careers of some of the world's most influential chefs and tastemakers, including José Andrés, Kristen Kish, Aarón Sánchez, Roy Choi, and Nyesha Arrington. FRESH is a full-service, boutique management company dedicated to helping its clients build lasting legacies through content, brand partnerships, live and virtual events, technology, value-add investment opportunities, and social good. A 20-year talent management and marketing veteran, Andrew was among the first to recognize that food-entertainment would have a similar impact on pop culture as film, TV, sports, and music, and that chefs could become cultural icons. Prior to launching FRESH, he was head of CAA Culinary, a division of leading entertainment and sports agency Creative Artists Agency (CAA), which focused on representing high-profile culinary personalities. Today's show also features Shari's PR tip to keep things fresh; Industry News Discussion on José Andrés' new TV series, "Jose Andres and Familly in Spain" (Discovery Inc.); Jeremy Allen White's 2023 Golden Globes win for best performance by an actor in a TV musical or comedy for "The Bear" (fx/hulu); and how restaurant workers are helping to pay for lobbying to keep their wages low via The New York Times; plus, Shari's Solo Dining experience at Daytrip, an award-winning wine bar with fermentation-driven party food in Oakland, CA. Photo Courtesy of Andrew Chason.Listen at Heritage Radio Network; subscribe/rate/review our show at iTunes, Stitcher or Spotify. Follow us @allindustry. Thanks for being a part of All in the Industry®. Heritage Radio Network is a listener supported nonprofit podcast network. Support All in the Industry by becoming a member!All in the Industry is Powered by Simplecast.

Paul is a founding partner of Genesis Park and GP Capital. He has extensive M&A experience, decades of diverse public company board service, and proven management ability. Mr. Hobby's sector expertise ranges from network infrastructure to downstream energy (both renewable and traditional gas fired) to media and telecom. His executive roles over time include Columbine JDS Systems, which became the world's largest provider of back-office media software, CEO of Alpheus Communications, which built out the largest alternative fiber optic network in Texas, and CEO of Texas Monthly, expanding the print media brand to include podcasts, social media, a national alliance with Creative Artists Agency, and syndicating content through new channels that include Apple News, Flipboard, Pocket, Random House, Google News, Audm and Trip Advisor. Paul has served as the Chairman of the Texas Ethics Commission, the Greater Houston Partnership, the Houston Branch of the Federal Reserve Bank of Dallas, the Texas General Services Commission and the Texas Business Hall of Fame. Paul holds a BA in History from the University of Virginia and a JD from the University of Texas Law School. Paul serves on the Management and Investment Committee of GP Capital.

Until 2005, elite basketball players could jump immediately from high school graduation to the pros. That system produced standouts like LeBron James and Kobe Bryant. The 2006 draft was the first that the NBA instituted an age limit requiring basketball players to be one year removed from their high school graduation before entering the draft. This age limit led to an influx of highly regarded ‘one-and-done' players who enrolled at a university to play one collegiate season before jumping into the draft the following summer.While some players spend the year after graduating playing basketball overseas (or in the NBA's G-League), playing at an NCAA institution is by far the most common route to the NBA. One league, however, is attempting to change that.Overtime Elite played its inaugural season in 2021-22, and it is positioning itself as an alternative path to the NBA. The Atlanta-based league is owned and operated by Overtime, is for 16- to 20year-old basketball players, and pays players a minimum of $100K per season. Entering its second season, the league has two projected top-10 NBA draft picks in Amen and Ausar Thompson.One of the keys to longevity for startups like Overtime Elite is to build an army of sponsors and media rights deals, and that's where today's guest on the WorkInSports Podcast, Trebor Goodall, comes in. Goodall serves as an Account Manager for Overtime and is in charge of building brand partnerships to grow the league. He joined Overtime shortly after graduating from Notre Dame in 2019, and he chats with Director of Content Marketing Brian Clapp about:• What the day-to-day work environment is like working at a sports startup like Overtime• What skills are required for his role• The value of his internship experience with Creative Artists Agency

Codie Elaine Oliver has had many meaningful pivots within her impressive career journey. One in particular where Oprah Winfrey, HERSELF told her where to pivot next…and when Oprah tells you to do something, you do it! Today, Codie is the CEO and co-founder of Black Love, Inc., a fast-growing media company comprised of the Black Love+ app, BlackLove.com, Black Love's social and digital platforms, and live and virtual events, including the annual Black Love Summit.  Codie is also the director and co-creator of the ground-breaking, four-time NAACP Image Awards-nominated docuseries, Black Love, which premiered as the most-viewed unscripted series in OWN's history and is set to return for its fifth season in 2021.  Her other projects include being a partner at Confluential Content, a company she shares with her husband Tommy Oliver, and the production company behind the recent HBO Documentary 40 Years A Prisoners and the upcoming Netflix film, The Perfect Find, starring Gabrielle Union. Prior to Black Love, Codie had stints at Film Independent, Fox Searchlight, and Creative Artists Agency.  Codie also hosts a bi-weekly podcast where she holds candid conversations with celebrities and influencers centered around who they are beyond the public persona.  Listen to Codie's podcast My New BFF with Codie Elaine Oliver: https://podcasts.apple.com/us/podcast/my-new-bff-with-codie-elaine-oliver/id1556161112 Mama's Den Podcast: https://podcasts.apple.com/us/podcast/the-mamas-den/id1616159115 Connect with Codie on Instagram Connect with Codie on Twitter Connect with Codie on LinkedIn Connect with Black Love on ALL Platforms

We had the opportunity to connect with Mark Murtagh and Hunter McGranahan, the co-founders of the video conferencing platform, Forte. They co-founded Forte because they believe there should be a free platform built specifically for online music lessons.Forte radically improves online education with audio quality far superior to existing platforms. Mark worked for years as a trusted advisor to some of the top music institutions in the world, including Juilliard, The Royal College of Music, and Berklee, helping them expand access to high-quality music instruction across the globe. And before Forte, Hunter helped build the Virtual Reality initiative at the Creative Artists Agency and led the development of Magic Leap's music education platform.In this latest episode, Mark and Hunter shared the story behind Forte, why Forte is (and will remain!) free, and how Forte's mission focuses on expanding access to quality music teachers anywhere in the world. [Forte]

Welcome to the Badass Babes of Entertainment! On our nineteenth episode of season 2, we chat with Joshua R. Lastine, Esq. Entertainment Business and Transactional Attorney is Founder and Managing Partner at Lastine Entertainment Law LLP. The former Lionsgate and ViacomCBS attorney launched his firm, Lastine Impressions, in 2021. As an entertainment lawyer, Joshua R. Lastine protects the artistry and livelihood of actors, production companies, writers, producers, directors, animators, social media influencers, and podcasters. A strategic negotiator, a fierce advocate for talent, and a practical problem solver, Lastine strengthens his counsel with an indelible passion for show business, its players, and creators. Lastine understands how to structure and close the deals shaping the future of the entertainment industry. Recent examples include critically acclaimed streaming series, musicians' NFTs, and mixed-reality productions in the Metaverse.Joshua Lastine finds new opportunities in Hollywood. He is a seasoned professor at the renowned Los Angeles Film School. He joined the school in February 2019 and teaches various Entertainment Business courses—including “Entertainment Business Law 101” and “Entertainment Business and Media Ethics.”Lastine negotiated such notable breakthroughs as the first full-frontal, transgender nudity rider for television (“Transparent”), working through sensitivities with talent, agents, intimacy coordinators, and studio executives. He also negotiated the deals for the first all-female writers' room (“I Love Dick”) on behalf of the Studio. Lastine's experience in Studio business and legal affairs includes positions with ViacomCBS, Lions Gate, Marvel Studios, Starz, Discovery Studios, and Creative Artists Agency. He began his career as a legal intern on American Idol.In his representations, Lastine structures, negotiates, and drafts contracts and paperwork on behalf of entertainment talent clientele, including rights acquisitions, development/production deals, branding/commercial advertising deals, talent deals, and other contracts for new media, social media, and the Internet 3.0. From $100M+ Netflix series to $30K YouTube branding, endorsement and commercial deals, his production legal and talent transactions have spanned a wide breadth of media and projects. Lastine also represents several animation studios (Baobab, Wattpad Webtoons, Rooster Teeth Animation), and celebrity/influencer talent (Dedee Pfeiffer, Andrew Walker, and Kensington Tallman).ABOUT THE PODCAST: Brenda Fisher and Meghan Ketz of Badass Babes of Entertainment bring you all the guest interviews, casting tips, and industry news in one captivating podcast. Brought to you this week by Roasted Luxury and Rogue Matter - Download the app  ►Join the Movement.Sponsored by: https://roastedluxury.com/  Promo Code BABES15 for a discount on your entire order!▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬Listen to the podcast in audio form on every major podcasting app.▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬Spotify ► https://open.spotify.com/show/2VRABRKopxehGDfiymXFwOApple ► https://podcasts.apple.com/us/podcast/badass-babes-of-entertainment/id1547723790Google Podcasts ► https://tinyurl.com/4s3v9zksiHeart ► https://iheart.com/podcast/98566932⇩ Follow the Rogue Matter network ⇩Website ► https://www.roguematter.com/Twitter ► https://twitter.com/rogue_matterFacebook ► https://www.facebook.com/weareroguematterSoundcloud ► https://soundcloud.com/roguematterYouTube ► https://youtube.com/roguematter Twitch ► https://twitch.tv/weareroguematterCatch up with our guest on his social media channels: https://www.linkedin.com/in/joshua-r-lastine-b3632b42/https://www.facebook.com/losangelesfilmschoolhttps://www.instagram.com/losangelesfilmschool/https://twitter.com/lafilmschool


Growing up around the film business,  Amy Baer always loved movies and reading.  Unsure of what she wanted to do professionally, Amy was certain of one thing.  Whatever she chose to do post-college, it had to be something that she really cared about and that excited her as opposed to what she thought she should or shouldn't be doing.  Following her instincts and staying authentic to herself, Amy has navigated a successful, joyful and creative career.  Amy currently serves as President of Landline Pictures, a label within MRC Film (KNIVES OUT) that makes feature films about and for a 50+ audience. Launched in 2020, its first movie, JERRY & MARGE GO LARGE,  starring Bryan Cranston and Annette Bening, was released by Paramount+ on 6/17/22. Prior to Landline, Amy raised a 7-figure development fund in 2012 and launched Gidden Media, one of the industry's only female-led, independently financed content incubation companies. Her first film as a producer was the 2013 hit LAST VEGAS (starring Michael Douglas, Robert DeNiro, Morgan Freeman and Kevin Kline) which grossed $136MM worldwide. She also produced the 2017 romantic drama MARY SHELLEY and the 2019 inspirational true story BRIAN BANKS.  Prior to that, Amy  served as President & CEO of CBS Films (2007-2011), and spent the previous 17 years at Sony Pictures Entertainment, where she oversaw such hit films as MY BEST FRIEND'S WEDDING (1997), the Oscar-nominated ADAPTATION (2001), S.W.A.T. (2002), SOMETHING'S GOTTA GIVE (2003), and the 2006 holiday hit, THE HOLIDAY. Amy also developed the 2011 Oscar-nominated Sony hit MONEYBALL, starring Brad Pitt. She began her career at Creative Artists Agency in 1988 as an assistant to the late Jay Moloney. Amy  has served as Board President of Women in Film since June 2018. What You Will Hear in This Episode:  Amy's personal story Trusting your instinct Becoming a book reader at CAA Learning to be a studio executive Developing a script My Best Friend's Wedding Balancing executive life and motherhood Starting a new studio Taking time off and rediscovering her why The differences between being a buyer vs a seller  Gen X and making movies for an older audience Being authentic and staying grounded Quotes “I've always been able to access theme and emotion as a way of advocating material.” “The only way to understand good writing is to read good writing and, and to do that, you have to constantly be reading.” “I was extremely lucky that I was surrounded by senior women who had children and were empathetic to the balance.” “I had to deal with the notion that even though I didn't want that job, I was never really in consideration for it because I was having kids and I had to reconcile that reality.” “Launching my own business was the first time in my career that I felt like a grownup because the agenda was mine.” “Gen X are aging in a way that's very much more dynamic than earlier generations.” “A lot of times when you launch a new venture, part of your success early in your lifecycle is luck, literally. “ “If I was someone that always took an opportunity to make a buck, I would probably have a lot more money, but I may not be as happy or as content.” Mentioned: Landline Pictures MRC https://bonniemarcusleadership.com/ https://web.facebook.com/bonnie.marcus/  https://www.linkedin.com/in/bonniemarcus https://twitter.com/selfpromote https://www.instagram.com/self_promote_/ Gendered Ageism Survey Results Forbes article 5 Tips to own the superpower of your age IAMMusicGroup Purchase my book Not Done Yet on Amazon:  If you enjoyed this episode of Badass Women Podcast, then make sure to subscribe to the podcast and drop us a five-star review.

Michael Ashley began his writing career as a newspaper reporter and playwright before transitioning to Hollywood to work for the head of the literary department at Creative Artists Agency. He served as a screenwriter for Disney in which he sold the treatment for the hit Halloween movie Girl Vs Monster.  A former screenwriting professor, Michael has written nearly 40 books on many subjects. He recently co-authored Own the A.I. Revolution (McGraw Hill) which launched at the United Nations and was named one of 2019's top business books. Michael serves as a columnist for Forbes, Entrepreneur, and Becker's Health Review. Beyond running his creative content agency, Michael is the author of 4 bestsellers. He has been featured in Fox Sports, Entertainment Weekly, TheNational Examiner, the United Nations' ITU News, The Orange County Business Journal, and The Orange County Register. An official Vistage speaker, he specializes in turning his clients into thought leaders via ghostwriting and consulting with businesses on storytelling. To learn more about Michael, check out his website: https://michaelashleypublishing.com/ or email Michael directly at michael@michaelashleypublishing.com ******************************************** Want to learn how to attract, hire, and retain top-tier employees? Interested in learning how to scale your business to increase revenue and profit while working less? Then join my Business Success Mastermind group. A new cohort is starting. Now accepting applications: https://ib4e-coaching.com/mastermind ******************************************** Please support this podcast: https://ib4e-coaching.com/podinfo #leadership #leadershipcoaching #business #success #michaelashley #ghostwriter #publishing #author ******************************************** If you like this podcast, consider supporting the effort. Every little bit helps. Thanks.

From an NCAA basketball star to the most highly esteemed entertainment executive in the industry, Range CEO Peter Micelli shares with us his fascinating journey to countless success by paralleling his strategy in achieving greatness in business to achieving greatness on the basketball courts. Peter highlights how the standards and ethics in both realms remain the same: hard work, team work and a sharp focus on the mission. A brilliant pioneer in the entertainment industry, Peter Micelli guides us on how to surround ourselves with teachers, create daily plans and always ask ourselves what defines success for us. Peter has learned how to step into his light in using his desire to constantly bring about positive change to fundamentally changing how we view TV shows today and how we will experience entertainment in the future. Listen to learn how Peter leads, with his commitment to bringing out the absolute best in all around him. My favorite point in learning from Peter's leadership was just how much Peter ensures his team maintains a work-life balance as well, by implementing this value into his company to ensure they too enjoy the journey along the way.  Peter speaks to us all on how integral it is to create a culture in your space that ALL can benefit from and be inspired by. THERE IS SO MUCH GOODNESS HERE, incuding what Peter foresees as the next big shift in ENTERTAINMENT…. YOU JUST DON'T WANT TO MISS IT! Peter's bio: Mr. Micelli earned a B.A. in speech communication from California State University Northridge where he played and served as captain of NCAA Division I Basketball AT CSUN.  He had a 23-year career at Creative Artists Agency, rising up in the ranks quickly from working the mailroom to becoming: the top TV Literary Agent and Packaging Agent, and earning the distinction of being the youngest person to ever run the CAA TV Packaging Division and being named as the youngest person to head the entire CAA Television Department. By 2018, Mr. Micelli had a record breaking 53 TV series in production and was largely known as the executive at CAA that helped Netflix figure out its original content strategy. His work helped deliver Netflix its first eight series and propelled its ability to generate content in a cost effective, profitable manner. Thereafter, Mr. Micelli lead the change in bringing more independent studios into the marketplace. Mr. Micelli was recruited by Entertainment One to serve as Chief Strategy Officer in late 2018. Mr. Micelli was largely responsible for transitioning Entertainment One from a distribution strategy into a content studio.  While at Entertainment One, Mr. Micelli supervised over 400 professionals. and lead the company from a 1.6billion valuation to eventually selling to Hasbro for $4.2 billion in January of 2020.  Mr. Micelli serves as the Chief Executive Officer, overseeing all aspects of the growth and development of the business of Range Media Partners and its subsidiaries.

Many leaders are afraid to share everything with their people. I talk to so many CEOs who embrace sharing almost everything with their people that I believe it is essential. The value of transparency can't be overlooked if you want your employees to feel like owners. Today's guest is Liz Steblay, Founder & President at PrōKo Agency. Inc Magazine ranked his company #4610 on the 2021 Inc 5000 list. ProKo is the “Creative Artists Agency” for over 75 independent consultants specializing in organizational effectiveness and HR. Liz gives you insights on the value of transparency and the things she has learned the hard way. Discover how vital transparency is to company growth.   Get the show notes for The Value of Transparency with Liz Steblay at ProKo Agency Click to Tweet: Listening to a fantastic episode on Growth Think Tank featuring #LizSteblay with your host @GeneHammett https://bit.ly/gttLizSteblay   #ValueofTransparency #GeneHammettPodcast #Inc2021 #GHepisode880 #CreativeArtistsAgency Give Growth Think Tank a review on iTunes!

We continue our series interviewing emerging and mid-market CEO's today with a conversation with Mike Tringe. Mike is the co-founder and CEO of CreatorUp, a global digital production company that makes impactful videos for organizations of all sizes to help them teach, tell, sell, and inspire using the power of digital media.   Mike has worked for over 15 years in education and entertainment, including top companies including Creative Artists Agency and National Geographic Films. He earned his MFA from USC School of Cinematic Arts and a BA in History and Science from Harvard University.   CreatorUp makes impactful videos for organizations of all sizes to help them teach, tell, sell, and inspire using the power of digital media.   Creator Up Website   In this conversation Mike shares how his company is empowering a generation of underserved communities of creators to do meaningful work and get recognized for it. He tells us the practice CreatorUp started to help promote human connection in a remote environment, and why leaders need an improved ability in the area of conflict resolution. He also shares why he listens to the Voice of Influence podcast. Learn about how our Team Performance System and Personal Brand Strategy can Help You Serve Well and Sell More at  www.voiceofinfluence.net   Read the transcript here:   https://www.voiceofinfluence.net/229 Give and receive feedback that makes a difference! Register for our 20 minute Deep Impact Method video course here:  www.voiceofinfluence.net/deepimpact

Catching up With Gamefly & Drop Off Leader Creator Sean Spector - 1 Year Anniversary Series Special Sean has spent his career driving growth and innovation for leading technology and media companies. Sean co-founded GameFly, Inc., which pioneered the video game rental subscription business and was backed by Sequoia Capital and Tenaya Capital. There he led marketing, business development, mobile strategy, digital distribution, ad sales, content, and M&A efforts. Prior, he was an Online Producer at The Walt Disney Company and a New Media Agent at Creative Artists Agency. Sean attended the University of Southern California and holds a B.A. in Film Theory and Criticism from San Francisco State University. Sean is married to his college sweetheart and loves watching his two daughters play competitive sports and ride horses.

Starting in the late 90's as a Casting Associate for Sex & the City, Lauren pivoted to the agency world in 2002 and joined Creative Artists Agency, becoming one of the first female Agents in the New York headquarters. Following a 14-year tenure at the intersection of global Talent + Brands, Lauren left CAA to build a multi-disciplinary agency with a focus on constructing indispensable strategies for the people, the brands, and the institutions changing the world.   According to former Google Chairman Eric Schmidt, "I've worked with Lauren for many years. She has an unusual knack for putting the right people together to solve almost any problem imaginable."   Lauren's unique approach is rooted in her philosophy of applying the principles of traditional talent representation to emerging business models. She focuses her team on a new level of client service representation - one that breeds influence and values the power of storytelling above all. Where to Find Lauren Rieckoff Website: https://www.wilyfoxx.com/ (https://www.wilyfoxx.com/) Instagram: https://www.instagram.com/wilyfoxx/ (wilyfoxx) Twitter: https://twitter.com/wilyfoXX (@wilyfoXX) LinkedIn: https://www.linkedin.com/in/laurenhalerieckhoff/ (Lauren Hale Rieckhoff) Lauren Rieckoff Tech Tools Calm Audible SPONSOR This episode is sponsored by http://www.entireproductions.com/ (Entire Productions)- Creating events (both in-person and virtual) that don't suck! and http://www.entireproductionsmarketing.com/ (Entire Productions Marketing)- carefully curated premium gifting and branded promo items.  PLEASE RATE, REVIEW, & SUBSCRIBE on APPLE PODCASTS “I love Natasha and the Fascinating Entrepreneurs Podcast!”

The Creative Artists Agency, or CAA as it's commonly referred to, is the world's largest talent and sports agency. CAA represents the top artists in show business — names like Beyoncé, Ariana Grande, Dua Lipa, Ben Platt, Stevie Wonder, Bob Dylan and more. At the helm of the music division is Rob Light, a managing partner and worldwide chief. The trajectory of Rob's career changed in one night... the night he attended his first Bruce Springsteen concert. Listen as David and Rob discuss starting in the mailroom, revamping the Las Vegas concert scene, and why he turned down an opportunity to be the fourth hire at MTV. SHOW NOTES Intro The scope of Creative Artists Agency and how COVID-19 disrupted music How Bruce Springsteen jumpstarted Rob's career in music How to recognize and develop young talent--including Dua Lipa How to be a valuable agent and leader How Rob Light created the music boom in Las Vegas What Rob learned from turning down the chance to help build MTV How to close deals decisively and get a win-win. How Rob coached a young associate to work for Beyoncé How Rob signed Sting in a single phone call What it was like working with Prince How to test for honesty with golf Lightning Round 3 Bits of Advice How to balance a fast-paced career with family How to live in the moment for others. Farewell

James Andrew Miller jumps in the booth to discuss his book "Those Guys Have All the Fun: Inside the World of ESPN" and "Powerhouse: The Untold Story of Hollywood's Creative Artists Agency". Dillon is out of town, while Connolly and Doug Ellin break down Doug's hair procedure.