Podcast appearances and mentions of Don Adams

GGACP salutes National Humor Month AND celebrates the birthday of voice actor Billy West (b. April 16) by revisiting this fan favorite interview with Billy and comedian -- and former "Howard Stern Show" colleague -- Jackie Martling. In this episode, the boys discuss the cinema of George Pal, the versatility of Paul Frees, the uniqueness of Peter Sellers and the enduring legend of Joe Franklin. Also, Jonathan Winters disses Don Adams, Jack Carter guests on “Ren & Stimpy,” Billy meets The Man from Uncle and Jackie weighs in on the Gilbert-Shecky Greene clash. PLUS: “Shock Theater”! “7 Faces of Dr. Lao”! The return of the Jackie puppet! Curly Howard takes a bullet! And George Jessel duets with…George Jessel? Learn more about your ad choices. Visit megaphone.fm/adchoices

National Peach Cobbler day.  Entertainment in 1961.  National Scrabble day, 1st elephant in America, Apollo 13 had some trouble.  Todays birthdays - Thomas Jefferson, Butch Cassidy, Vesta Stout, Don Adams, Tony Dow, Al Green, Peabo Bryson, Rick Schroder, Aaron Lewis, Lou Bega.  John Archibald Wheeler died.Intro - Pour some sugar on me - Def Leppard   http://defleppard.com/Saturday night - Bay City RollersPeach Cobbler - ?Blue moon - The MarcelsDon't worry - Marty RobbinsBirthdays - In da club - 50 Cent    http://50cent.com/Duct tape - The War ZoneLets stay together - Al GreenIf ever your in my arms again - Peabo BrysonIts been a while - StaindAm I the only one - Aaron LewisMambo No. 5 - Lou BegaExit - Its not love - Dokken    http://dokken.net/

Don Adams, CS, from Houston, Texas, USAHear more of Don's experience on this week's episode of Sentinel Watch.

Whether fear seems to lurk in the background of our lives or to hit us with a jolt, wouldn't we all like to know not only that we can face fear down but how we can? This week's guest, Don Adams, shares practical spiritual ideas and experiences from his own life that show that fear truly doesn't have the upper hand.

Dairy Stream and BMO are proud to present the “How We Got Here” podcast series featuring dairy farmers sharing the history of their farm and steps they have taken to get to where they are today. Dairy Stream host Joanna Guza and guests Ken Verhasselt, owner of Verhasselt Farms, and Don Adams of BMO discuss early influences, improvements to be better the farm, challenges, financial preparations and the future for the farm and dairy industry. This three-part series is sponsored by BMO. About the guests: Ken Verhasselt is the owner of Verhasselt Farms in Kaukauna, Wisconsin where they milk 4,000 cows and farm 5,000 acres.   Don Adams of BMO manages a portfolio of production agricultural relationships that focus mainly on dairy, and has just shy of 40 years of experience in the banking industry, with 37 of those years being with BMO.  This podcast is co-produced by the Dairy Business Association and Edge Dairy Farmer Cooperative, sister organizations that fight for effective dairy policy in Wisconsin and Washington, D.C.  Become a sponsor, share an idea or feedback by emailing podcast@dairyforward.com.  Attend Dairy Strong on Jan. 15-16 in Green Bay, Wisconsin to hear from inspiring speakers and experts on policy, sustainability and the future of dairy. This year's event kicks-off with the return of Tailgate on the Tundra at Lambeau, followed by a jammed pack day of breakout sessions, and networking opportunities and concludes with an evening celebrating award winners and DBA's 25th Anniversary! Learn more and register at dairystrong.org.

In this episode, I sit down with Don Adams, the lead instructor for the Canadian SAR Tech Basic Medical Course, to explore the critical medical phase of Search and Rescue training. Don shares valuable insights into what the course entails, the challenges candidates face, and key tips for success. Whether you're aspiring to become a SAR Tech or just curious about the training process, this conversation offers a behind-the-scenes look at one of the most demanding aspects of the program.I share my training for working out or being fit if you want to view some of it, check it out or share. Thank youhttps://my.playbookapp.io/dylan-wellerSupport the show

Could mastering freeze drying be the next step in enhancing your farm's profitability and sustainability? In this episode of the Thriving Farmer podcast, Michael is joined by Don Adams who, along with his wife Kathy, produce 80 percent of their own food on their farmstead, Jazzberry Farm in Taft, Tennessee. They practice permaculture and organic farming, cultivating a variety of crops, raising goats for milk and cheese, and preserving their harvests through freeze-drying. Don't miss this episode on transforming fresh produce into long-lasting, high-flavor products with the power of freeze drying.   Episode Highlights: Getting Started: Don's journey into farming [1:44] Range of Operations: What Don does on Jazzberry Farm [9:20] Product Pricing: The price range for Jazzberry's products [34:43] Marketing and Sales: Where and how Don markets and sells their products [41:59] Goats on the Farm: The purpose of goats at Jazzberry [48:58] Freeze Dryer Tips: More tips from Don on using the freeze dryer [54:17]   About the Guest: Don is a retired band director/musician who has moved back to the land to feed himself and his community at Jazzberry Farm in Tennessee. He and Kathy produce 70-80 percent of their own food. He discovered freeze drying as a way to preserve his own food and add value to his produce.   Learn More About Don: Website: Jazzberry Farm Facebook: Like on Facebook   The Thriving Farmer Podcast Team would like to thank our amazing sponsor! Here at the Farm on Central, garlic is one of our staple overwinter crops. We use it in everything—garlic salt, infused honey, fire cider—you name it! But now, you can grow your very own garlic, straight from our farm to your garden. We offer seed garlic with three amazing varieties: Music, German White, and German Red. These varieties thrive in zones 2-7, and with a little extra care, they'll do great in zones 8-9, too. Plus, we've got free shipping on our 1lb, 3lb bags, 10 lbs and discounts for bigger orders. Get your seed garlic today at shop.farmoncentral.com and get ready for your own fresh garlic harvest next summer! Happy planting!  

CreekTalk: A Conversation with Donald Thomas and Don Adams

In this episode, Anne Ganguzza and Tom Dheere dissect the key components of building a robust online presence. From identifying customer pain points to harnessing the power of color psychology in your website design, The BOSSES explore what it takes to convey competence and reliability. We also delve into the subtle yet vital aspects of maintaining an easy-to-navigate, professional website that establishes credibility and trust. Learn how consistent visual cues and coherent storytelling can make or break your brand's effectiveness in today's competitive market. Finally, The BOSSES tackle the nuances of maintaining a consistent brand across social media platforms. We underscore the importance of professionalism and how off-brand or controversial content can jeopardize client relationships. 00:01 - Intro (Announcement) It's time to take your business to the next level, the boss level. These are the premier business owner strategies and successes being utilized by the industry's top talent today. Rock your business like a boss a VO boss. Now let's welcome your host, Anne Ganguzza.  00:20 - Anne Ganguzza (Host) Hey, hey everyone, welcome to the VO Boss Podcast and the Real Boss Series. I'm here with my special guest co-host Tom Dheere. Hey, Tom Dheere, how are you?  00:30 - Tom Dheere (Host) Hey Anne, I'm good. How are you? I'm awesome.  00:33 - Anne Ganguzza (Host) Thank you very much.  00:34 - Tom Dheere (Host) You look fabulous today.  00:35 - Anne Ganguzza (Host) Why thank you? So do you. I love your coloring.  00:39 - Tom Dheere (Host) Thank you, it's one of my Hawaii shirts because my wife's from Hawaii, so we go to Hawaii all the time.  00:43 - Anne Ganguzza (Host) There you go. It's very boss.  00:45 - Tom Dheere (Host) Thank you. I love your blue because it kind of matches the coloring in the background. You look very branded today.  00:51 - Anne Ganguzza (Host) Why, thank you. You know I have multiple brands and multiple colors for my brands, and so it's interesting because red is typically my boss brand. But I thought, you know, let's work a little A&G and Guza brand in here as well, which is my blue, my signature blue. So I'm kind of combining them right now. And, yeah, I've been branded for a while yet, but I don't know, tom, what are your thoughts? I think we should talk about branding, because it is a big discussion among voice actors and it's like everybody makes a big deal like oh my God, I have to like figure out my brand, and they and it's like everybody makes a big deal Like, oh my God, I have to like figure out my brand and they stress out over it. And so let's talk about brands. I mean, how important is it for voice actors to brand these days?  01:33 - Tom Dheere (Host) Well, my thoughts have evolved on this quite a bit over the past 15, 20 years or so. I used to be of the mind that every voice actor absolutely must brand themselves. They should design a logo, they should pick a font, they should pick a color scheme and then their demos, their business cards, their website, their social media content, all of their outbound marketing content newsletters and things like that should be 100% branded. It should be 100% aligned.  02:04 - Anne Ganguzza (Host) Well then, I fit the bill there for you. You're perfect. Okay, you're perfect.  02:08 - Tom Dheere (Host) But over the years when I had that perspective, I was focusing primarily on direct and indirect marketing strategies to get the bulk of my voiceover revenue.  02:20 - Anne Ganguzza (Host) I agree, myself included.  02:21 - Tom Dheere (Host) I have representation. I'm on casting sites, but for me, direct and indirect marketing was the place and it's like the old mentality. It's like Anne, why aren't you wearing my glasses? Because they help me see better. So obviously they should help you see better. But gotten a little older, hopefully gotten a little wiser, and just looking at myself and looking at all the students I've had over the years and watching what other successful voice actors do, I don't know if everybody needs to brand themselves.  02:50 - Anne Ganguzza (Host) Well, gosh Tom, for many years there was no branding, right, there was no internet. Well, I shouldn't say there was no branding, but it wasn't as visible. And so how did voice actors in the 80s stand out?  03:02 - Tom Dheere (Host) They didn't, they just auditioned and booked.  03:05 - Anne Ganguzza (Host) They were managed by their agents, right or managers. And so they didn't have to necessarily brand their businesses. They became known for their voice and their agents were out there kind of branding for them, right.  03:20 - Tom Dheere (Host) Yeah, their reputation was built solely on the quality of their auditions and the quality of the experience when they were in the recording studio working with the clients. And that was it. The value promise was the audition Sure, the value delivery was the recording session. Yeah, platforms on top of that. Most voice actors feel obligated in a way that they have to brand themselves because they have to be on all of these social media platforms and they have to be spewing out content all the time in the hopes that they will catch somebody's attention to stay top of mind to get them into and through the sales funnel and all of that stuff.  04:01 But to your point, if representation was the only casting portal in the industry, no, we wouldn't need to brand. There are online casting sites too pay-to-play sites, voice123, voicescom, vidalgo, what have you? You don't need to brand yourself on there either, because all it's about is the value promise of the audition and the value delivery of the recording session or delivering the files properly formatted, with the proper amount of takes, and you took the direction on the casting notice or whatever. You know what I mean.  04:28 - Anne Ganguzza (Host) What about Fiverr? Just out of curiosity. I know we've had this, I know that's a bad F word but I think it depends on how the platform is marketing you right, or how are people finding out about you right On the platform?  04:38 - Tom Dheere (Host) Yeah, and it's interesting because Fiverr and Upwork, which are technically online casting sites, they weren't designed as voiceover casting sites like Voice123 and Voicescom, but they seem to be conducive for voiceover casting. There's very little auditioning happening on Fiverr and Upwork.  04:54 - Anne Ganguzza (Host) People come and look and listen.  04:55 - Tom Dheere (Host) It's direct bookings. So, with that in mind, yeah, your branding actually is very important.  05:01 - Anne Ganguzza (Host) Your headshot's very important, I agree.  05:05 - Tom Dheere (Host) Your tagline, the verbiage, how you package and present yourself. Yeah, branding is important.  05:07 - Anne Ganguzza (Host) So then, if you're direct marketing, right, I feel that a brand is very, very important. If you're direct marketing and if people are finding you online, let's say at your website, like for me, tom, and we have different businesses, right, you and I I have multiple brands. I don't have a ton of time to audition, except for my agents, right, which that's a whole different way that I obtain my job, and I don't have any time literally these days to audition on pay-to-plays. However, I do exist on pay-to-plays because I want to make sure that I know the platform so that I can recommend to my students. So for me, my branding is still relevant, I would say, because that's how I get a lot of people that say, oh, the Ann Ganguza brand or Ann, I see you everywhere, and that's good, because that's kind of my purpose.  05:53 - Tom Dheere (Host) Yeah, I have two brands. I have the Tom Dheere the H is silent, but I'm not voice actor brand and then I have the VO strategist brand, and both of them serve different needs. Well, obviously, one for me as a voice actor and then one for me as a voiceover business and marketing consultant and coach and mentor. What's interesting, and tell me, if you have this experience, is that your branding as Ann Gangu's a voice actor greatly informs your reputation and branding as Ann Gangu's a voiceover coach. Because, with a very precious few exceptions, like a Maurice Tobias or a Mary Lynn Wisner, you need to be a boots on the ground, successful, consistently working actor to be taken seriously as a voiceover coach. Absolutely, absolutely.  06:39 So a part of my branding as a VO strategist is go check me out at tomdeercom, listen to my demos, look at my YouTube channel, see all the work that I've done, because the fact that I've done a bunch of e-learning modules is one thing, but the fact that I was the voice of Inspector Gadget in the Inspector Gadget video game last year gives you a lot of street cred. So that attracts certain types of voice actors who want to do that sort of business. And even if they don't. They grew up on Inspector Gadget, so I'm writing the coattails of the brand of Inspector Gadget when I brand myself as Tom Dheere voice actor, because I was Inspector Gadget, which also then feeds into well, if he's able to book work like that, he's competent as a voiceover business and marketing coach. So they all feed into each other.  07:23 - Anne Ganguzza (Host) I love that. You said that you branded on the coattails of another brand and I think that's definitely a strategy. I mean he used to talk about that all the time is that to get credibility? If you are the voice of a brand that is out there and that is heard and seen, then that is your brand right, gaining credibility from another brand, and so it's kind of a strategic partnership. However, I think you can get that strategic partnership. It doesn't necessarily mean like oh, I'm Ann Ganguzza, I have to have blue. That's only a visual part of my brand, that is one part of the encompassing brand when people come to my website. But people if they don't see anything right. So there's a visual part of your brand, there's an audio part of your brand and then there is, I would say, an in-person, physical part of your brand as well that all contributes to who you are and if people decide if they want to work with you or not.  08:20 Right, there's that personality, part of your brand that says I'm reliable, I'm fast, I am accurate. I have the voice that can work with your brand and make it come alive. So there's so many aspects to branding besides, let's say, a website, which is what I think most people think. When they talk about branding, they think, oh, I've got to have that tagline Gosh. I gave up my tagline years ago because it just wasn't pertinent for my particular brand. It just wasn't, and I was out there showing my photograph a long time ago because for me it worked. I felt like people wanted to connect with a person and not necessarily an image of a microphone.  08:59 - Tom Dheere (Host) Sure, it's funny that you say that, because I've been teaching branding for well over 10 years and I've always told my students that branding is telling a story what is the story of you? But also there's usually two ways that you can tell your story as a voice actor from a branding perspective. You can brand your sound or you can brand your personality. So the more distinctive your sound is or the genres that you can do, the easier it is to brand in that direction. If you've got a particularly young voice or particularly deep voice, or if you do movie trailers primarily, or if you do military fiction, audio books exclusively or almost exclusively, it's a lot easier to brand. But the branding of your personality is what is the experience of working with you? So for years I used you as one of my examples of, yes, branding your personality using your tagline are you ready for awesome?  09:54 - Anne Ganguzza (Host) That's true. Are you ready for awesome? I like that. I did use that and I haven't used that in a while, so let's talk about that. Tom, tell me, what was it that attracted you to that particular aspect of my brand?  10:06 - Tom Dheere (Host) What attracted me to that is that you were setting expectations of what the experience of working with you was is like. So there's the value promise. Like I said, value promise and value delivery. This is about the value delivery. If you work with me, you're going to have a great experience. You're going to be working with a professional, intelligent, excited, ethical, prepared voice actor. That's what are you ready for. Awesome means to me.  10:33 - Anne Ganguzza (Host) Geez, maybe I'll bring that back, Tom.  10:36 - Tom Dheere (Host) I mean, why not?  10:36 - Anne Ganguzza (Host) I love that, I like that it meant something to you and yeah, absolutely, and it's not that I actually got rid of it, tom. Before that one, I had Dream Out Loud. That was my tagline, and I thought Dream Out Loud didn't do anything for me, necessarily because Dream Out Loud was kind of more focused on me rather than my client. Right, in terms of like, are they dreaming out loud? No, they need somebody that's not dreaming, they need somebody that can speak. Their brand, right, and so therefore, are you Ready for Awesome, kind of helps out their predicament in a much better way. So, yeah, actually I think that that's a great brand. I'll have to talk to my web person.  11:15 Your webmaster, business coach my webmaster to maybe bring that back. And it doesn't have to be all over my page, right it can be in certain parts of my page or in, let's say, in my signature file. It could be in a lot of different places, but I like that. You're right. It basically tells people this is what you're going to be working with.  11:32 - Tom Dheere (Host) Right, and one of the key aspects of any successful brand, regardless of whatever sector that you're in healthcare, automotive, beverages or whatever is that an effective company is able to identify the pain points of the customer. What do you need, what are you struggling with? And then your branding helps you tell the story of how you can solve their problems, how you can address those pain points, how you can cure what ails them, so to speak. Are you ready for awesome is a great way of letting them know that if you work with me, everything's going to be okay, Everything's going to be taken care of, you're going to have an awesome experience and you're going to get what you need, which are quality audio files delivered on time, properly formatted and that help you tell the story of your company's brand most of the time right.  12:21 - Anne Ganguzza (Host) Now I do believe that people visually see that text, they read it, they comprehend it. There's also something to be said for your website in general, and we can have a whole other podcast on websites. But I do believe that, like when I go to purchase something from a website, I have to see that website and feel that I trust it and that the people behind that website have a valuable product and I can purchase that without fear that I'm not going to get that product delivered in a timely and quality manner. And so I assess a lot visually the product by looking at a website. If the website is not constructed in a professional manner, of what standards are today, I hesitate to click and buy. And so I do feel that if you are a voice actor that has a website out there and people happen upon your website, at least have it functionally and visually professional enough so that it instills trust in your potential client, so that they can say oh, okay, this looks safe, right For me.  13:31 I mean, gosh, it's like oh, I buy online all the time. I mean this is like the 21st century, right? We buy online all the time. So again, that place where I buy needs to instill trust in me. And now a quick word from our sponsor, which could be me. Hey bosses, are you looking for even more voiceover resources? Head on over to vopeepscom and take a look at our special Vopeeps VIP VIPs membership. You get access to over 350 hours of on-demand video workshops in addition to free live monthly workouts. Plus, you'll get 15% off each monthly VO Peeps workshop in the future. Sign up now at vopeepscom.  14:12 - Speaker 4 (Host) Hi, this is Debra Elaine Fowler sending a huge shout out to Anne for her VO Boss podcast. I've been listening now since the very first episode six years ago, and I always learn something new. The guests are interesting and Anne brings up topics that maybe I haven't thought about. I find myself researching new topics almost every week. Anne, keep it up, I love what you're doing. And now back to the show.  14:38 - Tom Dheere (Host) The website tells the story of you and of the experience they're going to have as a result of working with you, Because they're immediately. Obviously the first thing that happens as they go to the website is they see the website. Yeah, you know what are the colors that?  14:50 - Anne Ganguzza (Host) come out?  14:51 - Tom Dheere (Host) What are the fonts Right? How is it organized or laid out? What are the colors? What are the fonts? Is it easy to find your demos?  14:58 - Anne Ganguzza (Host) Can I contact this person that's like so important to me?  15:01 - Tom Dheere (Host) Can I contact this person in the way that I want to contact them? Do I want to pick up the phone? Do I want to email them? Do I want to message them on Instagram, or do I want to use their contact form or any of a number of ways? So this tells the story of your competency as a voice actor, and it needs to be consistent. That's why you should be looking up the psychology of color when it comes to establishing a brand. It's like what is the type of voiceover work that you do? How does that reconcile with your personality? How does that reconcile with the needs of the customers that you want to attract? A lot of this stuff is very subconscious or unconscious on the part of voice seekers when they go to your website, but what's there and what isn't there speaks to your brand.  15:43 - Anne Ganguzza (Host) Absolutely. And there's something to be said, like there's something almost intangible. When I go to a website and I say oh, oh, I like that, Like it's like pretty packaging, right, I mean.  15:52 I like that package, and so that makes me interested to want to find out more, and if the verbiage on the website helps me to find out more and gets me to where I need to be quickly. Because, again, I don't know. I mean, how many people go around just looking at websites to say, oh, that's a pretty website or, oh, I don't like that website. I mean, really there's a purpose, right, people are shopping around going to a website either finding information.  16:18 Maybe you somehow attracted them to get to your website to find out more about you and your brand and your voice. And if they can get that information easily and it seems to speak to you as being a credible, professional, trustworthy business, product right that they can purchase, then I think that really all has a handle on. It's like a part of the sales funnel, right? I feel like your brand is part of the sales funnel.  16:41 - Tom Dheere (Host) It absolutely is, and that also extends onto your social media platforms and the content that you're creating on the social media platform. If you're trying to brand yourself effectively and consistently, the branding on your social media platforms should line up perfectly with what's going on on your website the font, the logo, the color schemes, the banners, the verbiage and the content that comes out. All of this needs to be consistent Verbiage.  17:07 - Anne Ganguzza (Host) Tom verbiage, and that means if you're on a social media platform and verbiage is coming out of your mouth that isn't necessarily conducive to promoting your brand in a positive way. You might want to think about that. That means if you're going to be controversial or you're going to be spewing verbiage in your social platforms that may be off brand. You might want to consider maybe not doing that or having a completely different brand. I feel like personal brands and voice actor brands are very close.  17:40 It used to be, where, okay, I have a business brand and I'm going to only talk about business on that and I have a personal brand, but I feel like those two brands have really melded together over the years, tom.  17:51 - Tom Dheere (Host) Oh, yes, no, they've completely blurred for a number of reasons. I mean, one reason right now is that if, through your marketing strategies, you've been able to get a voice seeker to go to your social media platforms or to your website, one thing they're trying to determine is are you human?  18:04 - Anne Ganguzza (Host) Yeah, yeah, yeah, yeah or are you an AI? That is slowly becoming more of a consideration for voice seekers, and if you're human, are you a good human.  18:12 - Tom Dheere (Host) And are you a good human there?  18:13 - Anne Ganguzza (Host) can be human actions that are controversial that would potentially harm their brand if they were to align right Strategically. We talked about strategic alignment with brands If they were to align with your brand right, it could hurt their brand.  18:27 - Tom Dheere (Host) Right. That leads me to a great point, Anne, is when it comes to your branding. To be perfectly honest, the vast majority of voice seekers aren't paying any attention to anything we're doing on social media, and they're not paying attention to much that's going on on our website. However, they will vet you. They will check out your brand for the aforementioned AI reason and for exactly what you said because nobody wants to work with a voice actor who is an NDA violator.  18:52 Sure sure, absolutely. And starts talking about auditions that they did for projects that haven't been cast yet.  18:57 - Anne Ganguzza (Host) Or negatively about companies that they've worked with.  19:00 - Tom Dheere (Host) Or client questions, whether it's warranted or not.  19:02 - Anne Ganguzza (Host) Oh my gosh, whether it's warranted or not, guys, just don't do that.  19:05 - Tom Dheere (Host) I see, specifically audiobook narrators regularly complaining about the publishers because, oh, I didn't get enough of a pronunciation guide or there were too many spelling errors on this manuscript, and I'm just as they're doing it. I'm like, what are you?  19:16 - Anne Ganguzza (Host) doing yeah yeah, why Because?  19:18 - Tom Dheere (Host) audiobook publishers are the ones that are the most likely to pay attention to your branding and pay attention to your website and pay attention to your social media platform and if you're kvetching about your client like that's a great way to lose a client.  19:32 - Anne Ganguzza (Host) That's like anybody complaining about their employer. Right, hr is continually going out online to see if you're making complaints and then that's the first line of fire to get fired if you're speaking negatively. And so even if you think it's private, like in a Facebook group, and it's marked a private group, it's not. Screenshot is like literally a couple of keystrokes away, and even if it says it's private, it's not. We all know things are not private.  20:00 I mean yesterday I happened to be on a family outing at Disney and everything I talked about came up on my Facebook feed just saying so nothing is private. And so really just for your brand's sake, and so I do want to. I know now we've got into the whole what's good for your brand, but let's go back to Tom. If someone is just doing jobs through their agent, is it required that they have a website now and a brand specifically, or maybe not?  20:28 - Tom Dheere (Host) Website yes, brand maybe.  20:30 - Anne Ganguzza (Host) Okay. Maybe, what's on the website then?  20:33 - Tom Dheere (Host) Okay, well, from a branding perspective logo consistency of font on the logo itself and the tagline and with the verbiage on the website the color scheme that you have established on this logo needs to align with the color scheme that is on the homepage and all the other pages, unless there's a possibility you've branded yourself based on genre or subgenre.  20:55 - Anne Ganguzza (Host) Is this for voice actors who are managed or who have talent, agents only, or is this?  21:00 - Tom Dheere (Host) It's a great question. I can't speak to what voice seekers that work through managers and agents are doing. How much are they vetting the voice actors that are represented by the agents and managers that they're working with? Most of the time they're probably not. It's usually just send me these auditions. We'll pick the person that we think is the best who vocally represents this company brand message.  21:19 - Anne Ganguzza (Host) Unless you're well-known, I would say right as a video game, character or an animation, character and then I think, your brand is important online. Right your actions in your social media. I'm thinking Daniel Ross, who recently, you know, is now the voice of Donald Duck. Bob Bergen has the voice of Porky. Pig, I mean and Christina Milizia, who I just interviewed as well on this podcast, and Christina Milizia who?  21:41 I just interviewed as well on this podcast the characters that they represent. She has to be careful. They have to be careful what they do online and also their actions, because a lot of them might go to cons and do autograph signing, and so that's an in-person branding as well, so they have to be very careful about their brand.  21:58 - Tom Dheere (Host) Okay, there are two groups of voice actors. There's public figures and private figures. Public figures in voiceover are those who do cartoons, video games and audiobooks. Okay, because if you're an audiobook narrator, you're being followed by authors, rights holders and listeners of the audiobooks. Okay, and it's a very public thing because these are very front-facing products audiobooks, cartoon and video game voice actors are also public figures, also just because of the fan base. The fan base really wants to know and loves to adore and follow the voice actors who are the voices of their favorite cartoon and video game characters. Everybody else is kind of clumped into the private voice actors. With the exception of, for me, inspector Gadget, red Dead Redemption and a handful of other things. I'm primarily a private voice actor. So me talking about my e-learning and her explainer experience online, nobody cares, nobody cares that?  22:59 - Anne Ganguzza (Host) Tom Dheere. I'll tell you what his e-learning module.  23:03 - Tom Dheere (Host) That HR video he narrated oh for God's sakes. Like nobody does that. Nobody does that, nobody cares, nobody cares about that. And yes, that, nobody does that, nobody cares, nobody cares about that. And yes, your branding should be influenced by that Absolutely. So you want to be careful. So if you're a private voice actor, yeah, don't be an NDA violator. Don't be a client basher. Don't be some religious political whack job.  23:24 - Anne Ganguzza (Host) That's all you have to worry about. And even if you're a public figure in a way that you don't think like because I know there are people who are out there that troll. I've been trolled. If you're out there as a coach, as a demo producer, I guess you can say if you've been trolled, you've made it.  23:39 - Tom Dheere (Host) Right, because then, so you actually matter. I matter in a way, but yes, I've been trolled and that's very upsetting, but Tom, I'm sure you've been trolled too, Maybe.  23:46 - Anne Ganguzza (Host) I don't know if Inspector Gadget has, but I mean Inspector Gadget.  23:51 - Tom Dheere (Host) I only got trolled in that. I'll just put it to you this way. There was one person who hated my performance so much that they took the trailer for the Inspector Gadget video game and replaced my voice with Don Adams, who was the original Inspector Gadget. So You've made it Tom, congratulations actually I'll take that as a proper trolling. There you go.  24:11 - Anne Ganguzza (Host) So I guess then, in essence, tom, I know you've evolved over the years with your views on branding. You don't know if it's as necessary, or maybe just branding in general has evolved. I still feel like, in this sea of voice actors, if somebody is going to see you online, then brand is important.  24:29 If you're not necessarily online, if maybe you're part-time and hey, there's a lot of amazing talent that we hear every single day on national spots that don't have websites that I don't even know. We don't even know who they are, right, Because they don't need to have that brand. So I tend to agree with you and I think that we have to continually be educated about what's important for your business when it comes to being recognized. Now, what about voice actors that are new to the industry? Is it important that they have a branded website, that they have a tagline? Is it important that they have a headshot?  25:07 - Tom Dheere (Host) Okay, I think at first it's a terrible idea. I think it's a terrible, terrible idea because what drew them to the voiceover industry may not necessarily be what keeps them in the voiceover industry. In other words, they may not be any good at what they want to do and they may turn out to be really good at something that they don't want to do. So from a branding perspective-.  25:27 - Anne Ganguzza (Host) They don't know their brand yet.  25:28 - Tom Dheere (Host) They don't know their branding because they don't know what they can book. So if you're early in your voiceover journey, us bosses are taking a little pressure off. You Don't worry about branding yet Book gigs.  25:38 See what the voiceover industry tells you are the types of genres and subgenres in the markets that you can book Then you can build a brand around that because if that's something that's bankable, if people are willing to give you money to say this kind of voiceover work, then you can build a reputation on that because, like we said, branding, storytelling, reputation all of these things are intertwined. So just to have a basic, nondescript website with your contact information, basic information about you and downloadable demos which is the most important thing to have on a website- yes, absolutely.  26:12 Then let the branding come about you and downloadable demos, which is the most important thing to have on a website. Yes, absolutely. Then let the branding come to you and then you can and you're talking visual branding. Visual branding.  26:17 - Anne Ganguzza (Host) Yes, I'm going to say vocal branding. I'm very much into vocal branding, depending on what genre you study with me, right. So vocally branding, that's something that you can have a good coach help you with, because they're going to help and you will discover that vocal branding in the beginning.  26:34 For whatever genre you're studying Now, that doesn't mean that you won't evolve over time right To have more vocal brands. I think you can have multiple brands that are related, but you cannot, like, if you're a young person and you sound young right, for the entirety of the time that you are younger, for a few years at least, you're going to be more of that youthful sound, probably if that's how you've been vocally branded. So I think if you're new it helps to have a good coach to help vocally brand you. But visual branding and you're right, tom, as you go you'll find out. What do you get hired for? Right, I never thought about medical and all of a sudden I started getting hired for medical and now, oh well, that makes sense now because I used to work in the medical field. So you know something I didn't know before.  27:21 - Tom Dheere (Host) Yeah, what a great coach like you can help people with is what celebrities do you sound like? What sectors of the voiceover industry can you get work in? You know there's commercials in general, but then there's automotive in particular, or home and family products, or alcohol, or boots you know what I mean or cowboy boots or whatever that sort of thing. Anne can definitely help you with that. And then when you are positioning yourself, and then when Anne helps you make your demo, it can help with that vocal positional branding. So the spots that you would do on a demo with Anne would align with the celebrities that you can sound like. Not imitations, but just like reminiscent of.  27:58 You know what I mean. I'll give you an example For me right now. For the past year or so it's been Ryan Reynolds. I've been booking spots because I have a Ryan Reynolds sound.  28:07 - Anne Ganguzza (Host) Yeah, you do.  28:08 - Tom Dheere (Host) A voice actor just connected with me on LinkedIn and said do you know that you sound like Ryan Reynolds and I don't have that branding anywhere on my website. I'm seriously considering doing it because these casting notices that tend to have the Ryan Reynolds celebrity reference I'm booking. So that may be something I would need to consider. But again, that's the industry. At this point in my journey, that's the industry telling me, because Ryan Reynolds wasn't a factor when I started in the 90s. But if I was starting now and working with Anne, she's got a good enough ear to know that like, yeah, you got kind of a Ryan Reynolds sound. Maybe we should get kind of these kind of quirky, fun, cute little spots on your demo to showcase that particular sound.  28:50 - Anne Ganguzza (Host) Absolutely Well. That was a very involved branding conversation but I love it, I love it. I feel like we still could go on, and, on, and on. But, thank you, tom. So much for that. Guys, I'm going to give a big shout out to our sponsor, ipdtl. You too, can network and connect like bosses like Tom and myself. Find out more at IPdtlcom. Have an amazing week, guys, and we will see you next week. Thanks so much.  29:20 - Intro (Announcement) Bye. Join us next week for another edition of VO Boss with your host, anne Ganguza, and take your business to the next level. Sign up for our mailing list at vobosscom and receive exclusive content, industry-rev, revolutionizing tips and strategies and new ways to rock your business like a boss. Redistribution, with permission. Coast-to-coast connectivity via IPDTL.   

In this episode I'm joined by Julieanne Mills and Don Adams, company monitors from the Australian Shareholders' Association, for a deep dive into the supermarket giant Woolworths. As Woolies navigates a maze of six ongoing inquiries, we peel back the layers of political and economic forces shaping the narrative around this ASX heavyweight. This interview is based on this statement from the ASA in February.Here's a link to the blog post: https://www.sharesforbeginners.com/blog/asa-wowPortfolio tracker Sharesight records your trades, shows your true performance, and saves you time and money at tax time. Sharesight automatically tracks price, performance and dividends from 240,000+ global stocks, crypto, ETFs and funds. Add cash accounts and property to get the full picture of your portfolio – all in one place. Get 4 months free at https://www.sharesforbeginners.com/sharesight-portfolio-tracking Disclosure: The links provided are affiliate links. I will be paid a commission if you use this link to make a purchase. You will receive a discount by using these links/coupon codes. I only recommend products and services that I use and trust myself or where I have interviewed and/or met the founders and have assured myself that they're offering something of value.Shares for Beginners is a production of Finpods Pty Ltd. The advice shared on Shares for Beginners is general in nature and does not consider your individual circumstances. Shares for Beginners exists purely for educational and entertainment purposes and should not be relied upon to make an investment or financial decision. If you do choose to buy a financial product, read the PDS, TMD and obtain appropriate financial advice tailored towards your needs. Philip Muscatello and Finpods Pty Ltd are authorised representatives of Money Sherpa PTY LTD ABN - 321649 27708, AFSL - 451289. Hosted on Acast. See acast.com/privacy for more information.

National Peach Cobbler day.  Entertainment in 1961.  National Scrabble day, 1st elephant in America, Apollo 13 had some trouble.  Todays birthdays - Thomas Jefferson, Butch Cassidy, Vesta Stout, Don Adams, Tony Dow, Al Green, Peabo Bryson, Rick Schroder, Aaron Lewis, Lou Bega.  John Archibald Wheeler died.Intro - Pour some sugar on me - Def Leppard   http://defleppard.com/Saturday night - Bay City RollersPeach Cobbler - ?Blue moon - The MarcelsDon't worry - Marty RobbinsBirthdays - In da club - 50 Cent    http://50cent.com/Duct tape - The War ZoneLets stay together - Al GreenIf ever your in my arms again - Peabo BrysonIts been a while - StaindAm I the only one - Aaron LewisMambo No. 5 - Lou BegaExit - Its not love - Dokken    http://dokken.net/

Publisher Kris Millegan speaks with Dr. Jerome Corsi about his new book, co-authored with Dr. David Mantik, THE ASSASSINATION OF PRESIDENT JOHN F. KENNEDY: The Final Analysis, Forensic Analysis of the JFK Autopsy X-Rays Proves Two Headshots from the Right Front and One from the Rear, with an Introduction by Douglas Horne, senior analyst on the military records team for the JFK Assassination Records Review Board (the ARRB). Dr. Corsi received his Ph.D. from Harvard University's Department of Government and has published over thirty books on economics, history, and politics, including six New York Times bestsellers, two at number one. Dr. Corsi was a senior editor at WorldNetDaily.com for 12 years, where he authored hundreds of articles. His new website and podcast are TheTruthCentral.com. They discuss many things indicating the JFK assassination was a coup d'état, a well thought out plot emanating from those affiliated with multinational corporations, who wanted a small cabal running America, who wanted to kill America and traumatize the nation. The kill zone, Dealey Plaza, was created by Masons in the 1930s. A longstanding animosity of the descendants of the Knights Templar against Roman Catholics, and a longstanding animosity of imperialists against a republic that's supposed to be of the people, by the people, and for the people, seemed to permeate a number of people and institutions implicated in the conspiracy. “People started working against the Constitution before the ink was dry.” Allen Dulles was “clearly one of the architects” of the assassination. The Dulles brothers and Prescott Bush financed Adolf Hitler's rise in Germany. Allen Dulles helped the Nazis get their gold and loot out of Germany and into the American stock market. Pegasus, the group Truman set up to spy on the intelligence agencies, recorded a phone call between J. Edgar Hoover, Lyndon Johnson, Allen Dulles, George H.W. Bush, and Nelson Rockefeller discussing the upcoming assassination. Three coffins, each supposedly containing JFK's body, arrived at Bethesda Naval Hospital the night of November 22, 1963.  Author and FBI agent Don Adams was certain, after working on the first investigation of the assassination, that Oswald could not have killed Kennedy and that there were at least 14 or 15 shots fired at the president. And Kris asserted that “They did this in this public spectacle because it was a mass trauma hit against the American people. We stopped trusting our government [after the lies and coverup became obvious]. There are people who want us to think that ‘government's bad.' But we need some sort of government so we can all talk to each other without killing each other.”

It's our 150th episode, our seventh anniversary, and someone's birthday! Charlotte and Beth rewatch one of their favourite episodes, The Rebel Set, with the short, Johnny at the Fair. They reminisce about visiting Chicago, Toronto, Winnipeg, the Canadian National Exhibition, and Hellzapoppin'.Show Notes.The Rebel Set (Gene Fowler Jr, 1959): MST3K Wiki. IMDb. Trailer.Johnny at the Fair (Jack Olsen, 1947): IMDb.Edward Platt might look familiar. (And of course, the other actor is Don Adams.)The Winnipeg General Strike of 1919.Crow's itinerary (without Evanston). If he left off the ballpark, he could almost make it.The Art Institute of Chicago is worth spending well more than four hours in.Gurnee vs. Gurney.The Ren Faire in Kenosha.New baseball rules.The CNE is the Canadian National Exhibition, which is usually called The Ex.David Foster: Flight of the Snowbirds.Weirdly, we haven't done Earth vs. the Spider, Tormented, or Attack of the Giant Leeches, so stay tuned for our Summer of Gene Roth!You can hear Charlotte and Chris and friends talk about The Greatest Story Ever Told if you support us on Patreon.Carey Loftin, stunt driver.Charles Pachter, artist.The Journals of Susanna Moodie.The secret life of William Lyon Mackenzie King.(Beth's plot summary of Hellzapoppin' is slightly inaccurate, but not in any imporant way.)Duck Amuck.The Lindy Hop scene from Hellzapoppin'. Heck, if you search YouTube hard enough, you might find even more…Martha Raye for Polident.Our episode on I Was A Teenage Werewolf.Portland Exposé (Harold D. Schuster, 1957).Phil Stanford: Portland Confidential.Support us on Patreon and join us on our (ironically?) friendly Discord.

GGACP celebrates the birthday of “Agent 99” herself, the funny and charming Barbara Feldon (b. March 12) by revisiting this interview from way back in 2014. In this episode, Barbara shares warm memories of “Get Smart” co-stars Don Adams, Ed Platt and Bernie Kopell and offers her take on the Steve Carell-Anne Hathaway feature film version. Also, Barbara reminisces about working with everyone from Dean Martin to Bruce Dern and reveals how she managed to win $64,000 on a quiz show. PLUS: Gilbert channels John McGiver! A live rendition of the “99” song! Barbara auditions to be a stripper! And the worst TV movie ever made! Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode 216 is the fifth episode covering Joseph Milteer and the radical right wing of America. This episode is  the  third  in a  mini-series wander that gives an overview of the civil rights movement as we traverse through the 1950's and early 1960's.  In episode 216 we continue with our chronology of events in 1960 and 1961 including the freedom bus rides and more. This series begins to explore more broadly  the impact of the civil rights movement and the clash of civilization that began to accelerate in the 1950's. The landmark U.S. Supreme Court decision in Brown versus the Board of Education had a major impact and was a major accelerator after 1954 of change in this country.  This period was one of gestation so to speak related to the growing discontent on both sides of this epic struggle  and it's an important time frame to understand a we set the plate for the civil rights show down that would come to a new and escalating  boil  during the Kennedy administration... and contribute to the events leading to the assassination of President Kennedy.  An assassination that appears to have included the involvement of hard core right wing characters including in some way  Joseph Milteer.Even as early as 1964, rumors and serious concerns over  the lone gunman theory and the evidence that might contravene it,  were becoming a major concern for the government and the commission. Conspiracy theories were contrary to the government's stated narrative from the very beginning. This  real-life story is more fascinating than fiction.  No matter whether you are a serious researcher or a casual student, you will enjoy the fact filled narrative and story as  we relive one of the most shocking moments in American History. An event that changed the nation and changed the world forever.

Episode 215 is the forth episode covering Joseph Milteer and the radical right wing of America. This episode is  the  second in a  mini-series wander that gives an overview of the civil rights movement as we traverse through the 1950's and early 1960's.  In part 1 (episode 214) we portray events up through 1959. In today's episode,  we pick up the action in 1960,  and  we tell the story of the Greensboro sit in which occurred in February of that year.  The sit in would resonate with the people  as the quintessential non violent protest...spawning sit ins across the country and mostly in the south where segregated lunch counters were still so prevalent. This series begins to explore more broadly  the impact of the civil rights movement and the clash of civilization that began to accelerate in the 1950's. The landmark U.S. Supreme Court decision in Brown versus the Board of Education had a major impact and was a major accelerator after 1954 of change in this country.  This period was one of gestation so to speak related to the growing discontent on both sides of this epic struggle  and it's an important time frame to understand a we set the plate for the civil rights show down that would come to a new and escalating  boil  during the Kennedy administration... and contribute to the events leading to the assassination of President Kennedy.  An assassination that appears to have included the involvement of hard core right wing characters including in some way  Joseph Milteer.Even as early as 1964, rumors and serious concerns over  the lone gunman theory and the evidence that might contravene it,  were becoming a major concern for the government and the commission. Conspiracy theories were contrary to the government's stated narrative from the very beginning. This  real-life story is more fascinating than fiction.  No matter whether you are a serious researcher or a casual student, you will enjoy the fact filled narrative and story as  we relive one of the most shocking moments in American History. An event that changed the nation and changed the world forever.

Episode 214 is the twenty-third  in a series covering the Secret Service and  possible involvement in the coverup, or the  actual plot itself to assassinate President Kennedy.  Today's episode is our third in a mini-series  covering Joseph Milteer.  In today's episode we begin to explore more broadly  the impact of the civil rights movement and the clash of civilization that began to accelerate in the 1950's. The landmark U.S. Supreme Court decision in Brown versus the Board of Education had a major impact and was a major accelerator after 1954 of change in this country.  We explore that history in this episode  up to about 1960 and the election of President  Kennedy. This period was one of gestation so to speak related to the growing discontent on both sides of this epic struggle  and it's an important time frame to understand a we set the plate for the civil rights show down that would come to a new and escalating  boil  during the Kennedy administration... and contribute to the events leading to the assassination of President Kennedy.  An assassination that appears to have included the involvement of hard core right wing characters including Joseph Milteer.Even as early as 1964, rumors and serious concerns over  the lone gunman theory and the evidence that might contravene it,  were becoming a major concern for the government and the commission. Conspiracy theories were contrary to the government's stated narrative from the very beginning. This  real-life story is more fascinating than fiction.  No matter whether you are a serious researcher or a casual student, you will enjoy the fact filled narrative and story as  we relive one of the most shocking moments in American History. An event that changed the nation and changed the world forever.

Episode 211 is the twenty-second  in a series covering the Secret Service and  possible involvement in the coverup, or the  actual plot itself to assassinate President Kennedy.  Today's episode is our second in a mini-series  covering Joseph Milteer.  In today's episode we tell the story of Don Adams. Adams was a rookie FBI agent in 1963 who was assigned out of the Atlanta office to work in a rotation out of Quitman Georgia.   As a satellite office,  agents stationed in Quitman covered nine counties in southern Georgia. Because the secret service had no offices in south Georgia, they called on the FBI for help in investigating Milteer.  In both October and November, Willie Somersett an informant for both the Miami Police Department and the FBI,  reported that plots had been discussed involving plans to assassinate president Kennedy.  The first occurring in Indianapolis Indiana at a meeting of several individuals in a hotel room and then again during a conversation that occurred one on one  in Miami at Somersett's apartment with Milteer.  Milteer was party to both meetings. After the November 9th meeting  between Somersett and Milteer,  in Miami, the secret service  received a transcription of the tape recorded conversation where Milteer described the plot that was already in the works. Considering him  a prime suspect, the Secret Service reached out to the Atlanta office of the FBI to track down Milteer and learn more. This is the fascinating story of the FBI deception in the investigation of Milteer that was later uncovered by this rookie agent himself, years after the fact. Even as early as 1964, rumors and serious concerns over  the lone gunman theory and the evidence that might contravene it,  were becoming a major concern for the government and the commission. Conspiracy theories were contrary to the government's stated narrative from the very beginning. This  real-life story is more fascinating than fiction.  No matter whether you are a serious researcher or a casual student, you will enjoy the fact filled narrative and story as  we relive one of the most shocking moments in American History. An event that changed the nation and changed the world forever.

Episode 210 is the twenty first   in a series covering the Secret Service and  their possible involvement in the coverup, or the  actual plot itself to assassinate President Kennedy.  Today's episode is the first in a mini-series wander that covers the right wing racist Joseph Milteer.  On November 9th, 1963,  just seven days after the secret service had thwarted the plot in Chicago, an informant working for the intelligence unit of the Miami police department William  Somersett captured an extraordinary conversation on a surveillance tape. As Somersett and Milteer carried on a conversation in Somersett's Miami apartment, Milteer would reveal that a plan was already in the works to assassinate president Kennedy and that it would be done with a high powered rifle with a scope from an office building.  He would go on to say that a suspect would be picked up very shortly after the shooting in order to throw off the investigation.  This was exactly what happened in Dealey Plaza some 13 days later on November 22nd, 1963. Was this a lucky guess by Milteer or was his foreknowledge real. Even as early as 1964, rumors and serious concerns over  the lone gunman theory and the evidence that might contravene it,  were becoming a major concern for the government and the commission. Conspiracy theories were contrary to the government's stated narrative from the very beginning. This  real-life story is more fascinating than fiction.  No matter whether you are a serious researcher or a casual student, you will enjoy the fact filled narrative and story as  we relive one of the most shocking moments in American History. An event that changed the nation and changed the world forever.

TVC 636.6: Actress and author Barbara Feldon (Get Smart, Getting Smarter: A Memoir, Living Alone and Loving It) shares a few memories of her years co-starring with Don Adams on Get Smart. Also in this segment: A clip from our January 2013 conversation with Barbara in which she discusses her many appearances on the various Pyramid game shows and her friendship with Pyramid creator and producer Bob Stewart. Both Getting Smarter: A Memoir and Living Alone and Loving It are available at BarbaraFeldon.com and at Amazon.com. Want to advertise/sponsor our show? TV Confidential has partnered with AdvertiseCast to handle advertising/sponsorship requests for the podcast edition of our program. They're great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started: https://www.advertisecast.com/TVConfidentialAradiotalkshowabout Learn more about your ad choices. Visit podcastchoices.com/adchoices

TVC 635.4: Greg and Ed continue their look at the various home entertainment releases of Get Smart (NBC/CBS, 1965-1970), including the made-for-TV reunion movie Get Smart, Again! (ABC, 1989, available on Amazon Prime), the 2008 reimagining starring Steve Carell, and the ill-fated 1979 feature motion picture The Nude Bomb. Other topics this segment include a look at some of Don Adams' television work before and after Get Smart, including his appearances on The Bill Dana Show, his starring roles in the animated series Inspector Gadget and Tennessee Tuxedo, his short-lived series The Partners (NBC, 1971), and his special A Couple of Dons (also starring Don Rickles). Each season of the original Get Smart is available both on both DVD and streaming on demand, while the excellent complete series DVD box set is available at Amazon. Want to advertise/sponsor our show? TV Confidential has partnered with AdvertiseCast to handle advertising/sponsorship requests for the podcast edition of our program. They're great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started: https://www.advertisecast.com/TVConfidentialAradiotalkshowabout Learn more about your ad choices. Visit podcastchoices.com/adchoices

TVC 635.3: Greg Ehrbar joins Ed for a look at Get Smart (NBC/CBS, 1965-1970), the long-running spy satire starring Don Adams and Barbara Feldon and co-created by Mel Brooks and Buck Henry, including the excellent complete series DVD box set, produced by Paul Brownstein and Susan Kesler for Time-Life, that was designed specifically with Get Smart fans in mind. Greg describes the box set as “Barbara Feldon Presents Get Smart,” not only because she introduces every episode of every season (and provides many audio commentaries throughout), but because it makes you feel as if Barbara is watching the entire series with you. Want to advertise/sponsor our show? TV Confidential has partnered with AdvertiseCast to handle advertising/sponsorship requests for the podcast edition of our program. They're great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started: https://www.advertisecast.com/TVConfidentialAradiotalkshowabout Learn more about your ad choices. Visit podcastchoices.com/adchoices

GGACP celebrates the 40th anniversary of a movie that inspired the podcast, Woody Allen's "Broadway Danny Rose" (released January 27, 1984) by revisiting this funny and fascinating conversation with one of the film's performers, comedian and director Howard Storm. In this episode, Howard (accompanied by writer Steve Stoliar) talks about the glory days of burlesque, the heyday of Jewish gangsters, the challenges of directing Redd Foxx, Don Rickles and Robin Williams and Howard's entertaining memoir (co-authored by Steve), "The Imperfect Storm." Also, Desi Arnaz saves the day, Raquel Welch acts the diva, Harry Belafonte breaks Jack Rollins' heart and Howard crosses swords with Don Adams, Lucille Ball and George Jessel. PLUS: Wayland Flowers and Madame! Praising Valerie Harper! The genius of Bud Abbott! And the return of "Dueling Grouchos"!  Learn more about your ad choices. Visit megaphone.fm/adchoices

Never fix your toilet on the day of your colonoscopy. Special thanks to Don Adams.

EPISODE #969 PSYCHIC SLOAN BELLA ON THE NEW WORLD ORDER Richard welcomes Hollywood psychic/medium Sloan Bella to discuss the investigation into her son's fatal mysterious motorcycle accident and her views on Satanic cults in Hollywood and the plans of the Illuminati and their dystopian New World Order. GUEST: Sloan Bella was born with psychic-mediumship abilities. By the age of four Sloan learned to articulate nightly visits by other worldly beings, "aliens," and the spirits of those people who had crossed over. These communications went on throughout her childhood. This was how she began to develop her ability to act as a conduit and to speak the different frequencies that exist around us. Astrology was introduced to Sloan via a charm necklace from a cousin in England and, by age seven, her lifelong passion for astrology began. By seventeen, Sloan was established as a professional psychic-medium, while deeply entrenched in the street, music vibe, while reading for everyone from Gregory Hines to Don Adams, as well as a large clientele which included street kids and runaways, teachers, musicians, businessmen, actors, strippers, Congressmen, housewives, athletes, and anyone who needed help. Sloan's abilities at one point were even sought after by the head of a major crime family. Sloan was always connected to the other side and one of the most unusual connections was her Mediumship communication with the late Jimi Hendrix, who guided her and aided her work on the streets of Toronto and Hollywood, as a "street psychic" with intuitive guidance to runaway and sexually-exploited children. To this day, Sloan is still reading for people from every walk of life, and for Rock and Roll Hall of Fame musicians who have relied on her medical intuitiveness along with intuitive guidance in every area of their lives. Sloan is a published author and former newspaper stringer writer on metaphysics. WEBSITE/LINK: https://sloanbella.com https://www.youtube.com/@SloanBella SUPPORT MY SPONSORS!!! DraftKings Sportsbook–an Official Sports Betting Partner of the NFL Download the DraftKings Sportsbook app NOW and use code STRANGEPLANET--new customers can bet $5 on the NFL Thanksgiving action to score $150 instantly in bonus bets! UNCOMMON GOODS - "We're All Out of the Ordinary." Cool, Unique, and Unusual Gifts! To get 15% off your next gift, go to uncommongoods.com/STRANGEPLANET. BECOME A PREMIUM SUBSCRIBER!!! https://strangeplanet.supportingcast.fm Use the discount code "Planet" to receive one month off the first subscription. We and our partners use cookies to personalize your experience, to show you ads based on your interests, and for measurement and analytics purposes. By using our website and services, you agree to our use of cookies as described in our Cookie Policy. Learn more about your ad choices. Visit megaphone.fm/adchoices Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://strangeplanet.supportingcast.fm/

The stage is set, the mic is on, and the cue is yours. In this episode, stand-up comic and voice actor Tom Sawyer shares his golden nuggets for aspiring voice talents hoping to benefit from the power of comedy. From the importance of having fun in the booth to taking a well-deserved break, and the power of belief in oneself, Tom is a reservoir of invaluable insights. We talk about standing out in a sea of talents, catching the ears of the right casting person, and the art of continuous learning. But remember, feedback is the breakfast of champions, and as Tom says, it's all about enhancing your performance. Get ready, it's showtime! About Tom   Tom Sawyer ran lengendary San Francisco comedy club, Cobb's for over 30 years. After stepping away from the comedy business, Tom was encouraged to explore voice acting by after famed comedian and voice actor Carlos Alazraqui (Rocco's Modern World, the Taco Bell Chihuahua) who knew Tom was an excellent celebrity impersonator. Tom signed with JE Talent in San Francisco and Aperture Talent in Los Angeles in 2017, and the rest is history. https://kitcaster.com/tom-sawyer/ 0:00:01 - Announcer It's time to take your business to the next level, the boss level. These are the premier business owner strategies and successes being utilized by the industry's top talent today. Rock your business like a boss, a V-O boss. Now let's welcome your host, Ann Gangusa.  0:00:20 - Anne Hey everyone, welcome to the V-O Boss podcast. I'm your host, Anne Ganguzza and today I am super excited to be here with very special guest actor, comedian, entrepreneur oh my God, the list goes on Tom Sawyer. Tom ran the legendary San Francisco Comedy Club Cubs for over 30 years booking legendary greats, and this list just goes on and on, but I'll give you just a few of them Jerry Seinfeld, dana Carvey, Bob Saget, Jim Carrey, Rita Rudner, Joe Rogan, Sarah Silverman and the list just goes on. He stayed on as a booker until 2012 and then ultimately stepped away from the comedy business. After that, he was encouraged to explore voice acting by famed comedian and voice actor Carlos Ellsrocki, a good friend of his. He signed on with JE Talent in San Francisco and Aperture Talent in LA in 2017, and the rest, they say, is history.  But boy, we've got a lot of history I'd like to talk to you about, tom. Thank you so much for joining us and welcome. Thank you for having me. Oh, it's my pleasure. So, gosh, there's so many things I want to start with. I mean the first tell. You have such a large history of comedy, so, of course, I'm sure a very common question you get asked is were you a funny kid, or have you always loved comedy? What is it that drew you to comedy?  0:01:44 - Tom Well, yeah, I was the kid in the back of the class making all the other kids laugh, so that was where I started and I always did impressions. So when I was a kid I was doing Don Adams from Get Smart and Ed Sullivan and Richard Nixon and you know, it's probably a little weird seeing an eight-year-old doing Richard Nixon but that's what I was doing. When I was very young I realized I could do voices and never stopped and that's what kind of led me to voiceover when I got out of the comedy club business.  0:02:15 - Anne But boy, there was a long history of being in the comedy business. I label you as entrepreneur 20 times over because I think just following that passion of yours and then ultimately opening up a club that literally was just famed and just housing some of the comedy greats. Tell me a little bit about that history. I mean, that is just so, so fun and impressive.  0:02:36 - Tom Yeah, actually, I went to San Francisco to become a stand-up comic and there were all these clubs, the Punchline and the Holy City Zoo and the other cafe. They were very packed all the time and getting stage time there was next to impossible. Or you'd get on at one o'clock in the morning in front of a very tired, very small, very drunk audience. And then there was this little.  0:02:55 - Anne Sometimes that helps, I'm not sure Mostly doesn't, oh okay.  0:03:00 - Tom But there was this little club in the Marina District in San Francisco called Cobb's Pub and they were trying to do comedy there and there was no audience, but there was stage time. You could get on stage there. In fact, sometimes you couldn't get off stage because there was no one there to take over, so you had to stretch, stretch and that was terrifying sometimes. Especially if you're the third or fourth comic going, hey, where are you from? And the audience goes we all know where we're from, so stop asking.  0:03:29 - Anne That's so funny. I just wanted to say that a lot of my actor friends I feel like being on that comedy stage is like a rite of passage almost, and it's probably I would think one of the toughest things to do is to stand on stage like that and try to make people laugh. I mean, that's just to me it's comedy without a net. Yeah, exactly.  0:03:48 - Tom And the thing is it's like you're stuck there, literally. You have an allotted time that you have to perform and they give you 10 minutes. You have to do 10 minutes, doesn't matter if it's horrible right from the word jump, you're on stage for those 10 minutes. That's the time you have to do and that's one of the things you learn right away is like if you get on stage early.  you're not going to get back on stage. So you have to go through the rite of passage of bombing, and I've seen comics bomb from Paula Poundstone, kevin Meany, kevin Nealon, the list goes on and on. Every comic has bombed. But even later on you get in front of an audience that just doesn't dig you.  0:04:27 - Anne And again, nowhere to go. You can't run off the stage.  0:04:31 - Tom You're mean, I get that.  0:04:38 - Anne And it's funny because I literally I just went to a comedy club a couple of weeks ago and I was thinking about that, like what do you do? I mean, they are there until the next comedian is called on stage. And it feels interesting as being a part of the audience, because a lot of times I think, as the audience, you are part of maybe not part of the act, but it's very interactive, it's very back and forth and engaging because, of course, you're trying to make us laugh.  0:05:02 - Tom Yeah, you have to communicate to the audience without really engaging the audience, because you're the boss on stage, you're kind of like the crowd master and you're crowd control and entertainment at the same time. And because comedy, some people feel like, oh, I'm going to be as funny as the comic.  0:05:22 - Anne And that's when things get really sideways.  0:05:24 - Tom You're there to be entertained. Sit back, relax and leave the talking or the driving to the person with the microphone.  So you got some stage time on Cobbs and and then I realized that I just kept seeing these shows that weren't very good. The guy who was booking the club at the time wasn't doing a great job, and I was a big fan of stand up as well. So I started thinking about what I would do instead, and then I started telling the owner at the time first owner of Cobbs. I was telling him you know, here's what I would do differently, and then I could tell him at the beginning of the show how the show was going to fail. And then he was started realizing that everything I was saying was happening and he went what do I get to lose? We're doing horrible business. And so he gave me the job of booking and from there I started getting the people I really, really like to perform and it started going great and we went from being like about 20% capacity to 90% capacity in about a year.  0:06:23 - Anne So let me ask you a question that, to me, is very interesting how do you get, at the time, the talents that you booked? I mean, they were big names. Were they big names then? And how did you get them to book? I mean, that's a skill, right? It's something that we do in our businesses every day, right? We've got to try to get clients to like us and to work with us. So how did you do that? Did you have a secret?  0:06:42 - Tom Yeah, my secret was I paid really well.  0:06:45 - Anne Okay, okay, that's a good piece.  0:06:48 - Tom My biggest competition, which was twice the size of our club. We were out paying that Because we decided that the most important thing was getting butts in the chairs and the only way to do that was having acts that actually brought an audience. So the only way to do that was to offer these guys more of an opportunity to make more money. So we would give them a percentage of the door and say, hey, the more people come to see you, the more you're gonna make. And because of that we had people that would call up and go, hey, I'm gonna be on the Tonight Show in six weeks with Johnny Carson, do you have anything open? And I would move stuff around and get them in there and then I would get a Tonight Show plug or a Letterman plug or Arsenio Hall. At the time and that was kind of my thing was I'm gonna pay everybody. Really well, so everybody could. Percentage of the door.  In the early days before all the big agencies came in, sure, and remember this was at a time where there were just like a couple agencies doing personal appearances for comedians. Comedians were pretty much on their own. They were doing their business themselves. So if I wanted Bob Sagan, I'd call Bob Sagan, so I get his number from another comic and everybody was kind of looking for each other and I would bring one comic in. They'd go, hey, you should book these guys. And I go, okay, great, and call them up. And they'd go, right, when can you give them me a date? And I'd give them a date. Plus, we flew people up and we put them up in the hotels. So we didn't personally make a ton of money. That wasn't my thing. My thing was having the best shows I could possibly have and making a name right.  And making a name for the club?  0:08:24 - Anne Absolutely, and that's interesting because, again, I like to talk about the entrepreneurial business side of what we do as creatives and freelancers, and there's a lot of thinking outside the box and also recognizing the value of the talent, that if you wanna put out great work, then you wanna hire a talent that's amazing and great and pay them fairly and absolutely. And so talk to me a little bit about the networking aspect. I mean, the cash is a good draw, but you also had to communicate effectively, I would say, to really book these talent.  0:08:58 - Tom Well, the thing that separated me from everybody else, besides being generous with the money that was brought in, was that I knew what they were going through, no matter what it was going on on stage. If they were dealing with a heckler, I'd gone through that as a comedian. If they were bombing, I knew that pain, so I could empathize with them, I could be their counselor, I could give them advice. I looked at it like I wasn't really a good comedian, and mainly that was because I wasn't true to who I am personally. So my mantra after that was be yourself.  0:09:32 - Anne I love that.  0:09:33 - Tom Yeah, that's who I wasn't. I was trying to fit in and have everybody like me and that really affected the quality of my stand up because I wasn't being true to me. So that was my mantra to everybody be yourself. Because nobody can take that away from you.  0:09:49 - Anne That's so interesting because I never ventured into comedy myself. However, I find that people find me the most funny when I am being my dorky self and I'm making mistakes and I'm just being oops, sorry, and I think in voiceover as well. I wanna talk more about that. I think it's all about being authentic and being yourself and that's really, I think, what connects you to people and engages you to people and endears you to people.  0:10:14 - Tom Yeah, I think it's really important when you get a job, and especially if it's somebody you want to get more bookings from play around, have fun. I mean, I booked a video game and the first thing we did we went through several of the lines I had to do and then we went through all those and I just did just the lines, basically no acting or anything like that and they went. Yep, that's about it. I went great, thank you.  0:10:33 - Anne Love it, love it, bye, bye.  0:10:35 - Tom So everybody started laughing. It loosens everybody up and that's really it's just. Don't be a pain on the ass. Realize that you're always learning. They're always learning. Everybody's a professional too, and so be courteous and nice and smart and be entertaining. You are the talent, so show some talent as a professional as well.  0:10:53 - Anne Show some talent. I love that. So talk about in the transition while booking talent. So you did that for a very long time, I mean 30 years, and so, wow, I mean, was there a point? I mean, were you just so busy for 30 years Did you think about voiceover? Was that a thought in your head or something that you would do, or you just were completely. You loved running the club and booking talent.  0:11:18 - Tom Prior to moving to San Francisco, I lived in Florida, lived in Sarasota, Florida, and I did a lot of theater there.  That's why, I fell in love with theater and acting. You know, I always thought like, oh, stand up might be a good gateway to getting into acting, but then I got into the business end of it. So I didn't really think about it until I got out and I didn't know what I was gonna do. And I was talking to Carlos and he said dude, you do so many voices and stuff. You'd be great at voice acting.  Cause I've always done impressions, never stopped doing impressions. In fact I would teach other people like Kevin Pollack or something, if they had an oppression and they couldn't figure it quite out. They were doing it but they weren't quite right. We'd kind of jam and help them get there, or they would help me get there and we'd all do our really weird outside the box impersonations. You'd have to spend five minutes explaining who that guy is Right right right.  0:12:07 - Anne So you can't do that one.  0:12:09 - Tom But for comics, we love doing those, especially impersonators, impressionists, we love doing those for other impersonators. It was kind of like our jazz moment, you know, where you get to jam behind the scenes with another musician.  0:12:20 - Anne Absolutely.  0:12:21 - Tom So Frank Calliendo, I had the club, and Dana Carvey, of course, was the master of the not perfect impression, but getting the perfect funny it didn't matter, that's what his genius is. Bye, you know, is finding the perfect funny to any voice. And then Tom Kenny played. The club started at Cobbs as well Again, the guy who did so many crazy voices. It was another inspiration for me to move there, and every once in a while I talked to him, cause I'll get a audition for something that I know is directing or in, so I go heads up and he's going dude.  I have nothing to do with casting, you know sometimes they cast people and I'm scratching my head. So yeah, but I'll put in a good word for you.  0:12:58 - Anne So Well, hey again, networking totally helps. Now comedy skill. I think comedy is a skill and art form. What are your thoughts on that?  0:13:07 - Tom I mean cause, oh, absolutely.  0:13:08 - Anne Yeah, it's not something that I can go on a stage and execute.  0:13:11 - Tom Yeah, it's like anything else I personally believe.  my philosophy is we all have a gift somewhere along the line. We might not be in a position ever to know what that gift is, but we all have a gift and sometimes there are people out there have more than a couple fair, but there's also people who just don't ever find theirs. And I think that the idea is you know to try to discover who you are and your strengths, weaknesses. Stay away from those weaknesses and hurdle towards your strengths, you know, and don't get locked up into one thing to always be on the road to discovery.  0:13:42 - Anne I guess I want to ask you first of all about once you got into voice acting and then was it like you were always wanting to book a certain genre because you've had lots of characters inside of you that wanted to come out? Or did you find any of the genres outside of character Interesting, because I'm a believer that you're a character in just about everything you do, even if you're doing e-learning.  0:14:05 - Tom Yeah, I always try to find a person, even when it's just one of those hey, you're a dad, or hey, you're a regular guy. Or I just had an audition yesterday where you're just a regular father, you know it's regular. But the line said something else, you know. So I gave one as what they were saying and then one. That's what I felt the lines were doing. It was a subtle difference, but it was a difference that maybe whoever put this together wants to see. If somebody figured it out, or they didn't know that's where they were going and they don't know. Sometimes they don't even know until they hear it.  So give them what you think they want, and then give them what they say they want.  0:14:39 - Anne So interesting. I guess I would talk to you then about writing right, especially now that you've transitioned in voice acting and you're given a script right, or you're given an audition and finding the humor. Sometimes there's subtleties in that humor, sometimes it's obvious. Are there telltale signs to look out for? And then, once you do see it, is there a specific way that you feel it should be performed? Should it be performed in the obvious way? Or maybe, if you wanna capture the ear of the casting director, you do something different?  0:15:08 - Tom Well, I think you know what you do with a couple takes is you do the one that's on the page and then you do the one that where you think they go or where you can go with it to show what you can bring to the party. I always like to find the humor in something, especially if it says it's humorous, you know, and then play around with it and add a little bit, do a little improv with it, find a little spontaneity into there, or sometimes I'll even rewrite a line, cause I think it's kind of like flat, so I'll make it a little funnier. A punchier.  0:15:36 - Anne Okay, now that gives me a segue into a question In terms of with the script, in terms of improv right For an audition, are you improving in the audition and or improving the line, and at what point do you feel that people may go too far if you're completely rewriting, or do you think that's offensive maybe?  0:15:54 - Tom I think you have to be pretty subtle in rewriting. I think you do run the risk of people going why do I bother sending you a script? Cause you're adding all this stuff to it. So you pick and choose your moments. You know I've done that before, I've added jokes. But I'll listen to it again and go okay, that's a little too much. Plus, I want to have them. I don't want the person thinking after the third one, is he gonna go back to the script or what you know. So I wanna pick and choose my moments and make sure that I think of the funniest, the ones that have the most oomph. You want them to land, and so era on the side of too few than too many.  0:16:33 - Anne Let's talk about character development for you, especially because you're an impressionist. So how can you take, let's say, and you don't necessarily wanna have a character that's just after a particular person, but you wanna develop it into your own character. Is there a formula or a process for that, in terms of developing new characters?  0:16:51 - Tom Well, I have a book of all the impersonations I do, well, a book with the impersonations I do. And then I have like one that's like the ones I do pretty right on, and the ones I do that are just kind of soft. I don't really have it down, but that's great because it's a character.  0:17:07 - Anne Do you have a number for that? Somebody wants to have how many characters in their arsenal, how many to build off of.  0:17:13 - Tom Every day that I can figure out how to do a different celebrity or something like that. I write it down in the book Cause it comes to you sometimes. I mean, when I figured out how to do Robin Williams, it just was an accident. It's one of those things where you find a word and all of a sudden. Then you find a place in your throat and you're doing it and you can't stop.  0:17:32 - Anne It's crazy so it just never stops. I love it, I love it.  0:17:37 - Tom So one day I did Robin for Robin and that didn't go so well, apparently I didn't know he doesn't like his voice, apparently being impersonated. You didn't like that. No, it's really a very awkward Cause. I thought it'd be a lot of fun.  0:17:50 - Anne Yeah, and that's interesting because I'm curious about that. You know, celebrities like their voices impersonated, or now we've got a whole another, a whole another digital thing to be thinking about, when voices might be impersonated or turned into right With synthetic voices. But that might be another podcast.  0:18:10 - Tom That's a little scary.  0:18:11 - Anne That's a scary one, absolutely.  0:18:13 - Tom The thing about it is is like the flaws, like, let's say, go back to Dana Carvey, cause again there aren't many that he does right on, he'll leave me be the first to admit it. He's not like somebody like Frank Caliendo, who's just like amazing. He's verbatim, you can hear the voice. He's somebody who can do a sound alike. Dana could never do a sound alike, but he gets people's caricature down. That's the thing is it's like, and that's kind of what makes it funny is the imperfections is going up, finding those words.  I just, you know, I used to do Bruce Stern and a lot of people kind of forgot who he was, and then one day I just was doing it for somebody to just start laughing Cause they didn't even remember who that Bruce Stern was. But it's just his voice is funny, you know, cause he has a kind of voice like that and it's very inquisitive either. Everything goes up at the end Doesn't make a darn gosh darn bit of difference, and not sometimes he gets crazy. But and so you find those little imperfections actually make a character and make it really funny. That's what I like to do. You know, I did a animation pilot and it was like a hippie character and I was going through a bunch of voices with a writer cause they booked me and they didn't feel like they wanted to do something different with it. They said what can you do? And I was going through my book and I started doing Nick Nolte and they loved it and then you ended up going with that over what they originally had, with me doing it.  0:19:37 - Anne So I love how you have a book with everything written down. Now, do you also have audio files that go along with that, so that you can help yourself get into words?  0:19:45 - Tom Yeah, I have one where it's all my impressions, so that way I can go back. And how do I do that? One Cause I don't practice them all the time. Cause.  0:19:54 - Anne I have life.  0:19:55 - Tom So, and I don't want to be walking around talking to myself, of course, of course. Man, it's got so many voices.  0:20:00 - Anne So are you writing down then the name and then you write down the qualities of the characteristics or how you get into it. Is it a kick phrase? Maybe that gets you into the character.  0:20:10 - Tom Well, there's certain words, for example, you know, I came up with for Christopher Walk and I came up with the word pantaloon being the perfect Christopher Walken word. I'm thinking cowbell but that's yeah, cause. Well, that's, this is before cowbell yeah, before cowbell.  0:20:26 - Anne But pantaloon automatically gets me there. I love it. I love it Cause I say it.  0:20:33 - Tom I can't help but do more. Christopher Walken, who doesn't like a nice pair of pantaloons?  0:20:43 - Anne I love it. I love it.  0:20:44 - Tom Cause you want your calves exposed. So yeah, and then with Kurt Douglas, it was horse, oh Horse, okay, I'm going to read my horse. If I say horse, I go into Kurt Douglas Well.  0:21:01 - Anne I think there's something always so obviously so entertaining, but something that just draws people to comedy. What are your thoughts about this crazy, chaotic world that we live in today, and where does comedy sit now, I mean, in terms of how important is it?  0:21:17 - Tom I think comedy is as important as it ever was. And it's in a weird place right now, cause I think a lot of people are reacting to people saying words and there's a lot of people getting offended easily and comedy is not for those folks that have thin skin, both sides of it.  I find it funny that I think a lot of comics right now have thin skin as far as getting some criticism back, cause it's also about growth. What was funny in 1970, if you listened to comedy in 1970 or the 80s, it's not as funny now. In some of it's just not funny at all. We grow, we expand, we move on, and to me, that's what's great about comedy is it's about adapting. You're always adapting. You're always growing, as you should be as a person. So to me, if you're moving the ball forward constantly in your life, you're gonna be a better person than you were 10 years ago. So why not take that to comedy? Absolutely, the things that were funny like 15, 20 years ago are real cringy right now, and it's not because they weren't funny back then. They were. It's the same reason I get upset with people who go back like 20 years and go. I can't believe you said that back then.  0:22:28 - Anne Well, back then that wasn't offensive.  0:22:30 - Tom Exactly, we didn't find that offensive back then. Now we've all grown up and we've all moved on a bit and we understand that's not the same. But don't punish me for something that was okay Back then. Mark Twain, who wrote a famous book about a guy named Tom Sawyer, had a lot of cringy stuff in his books. There's still masterworks of literature, but those were the times. We have to accept. That's where those books came and there were a reflection of those times. Same way we would stand up. So to me it's just about. Everybody just needs to grow up. Everybody needs to understand where everybody was back then and where they are now and be better for them.  0:23:06 - Anne Yeah, yeah. Do you find that you miss owning a comedy club or booking talent or having that in your life?  0:23:12 - Tom I miss working with young comics. That's the thing I miss the most and it was actually when I started. The last version of Cubs when it exists now, because it's a 400-seat room has really amazing acts, but they're much bigger acts and they generally bring their own acts with them, and comedians who can bring their own acts generally don't bring really really great acts because they don't want to have to work as hard. I would make comics work hard because I would have really good acts going on before them.  Sure, so they have to try to continually stand tall, so they had to keep their game. My thing was like Interesting strategy. I like that yeah yeah, absolutely Nobody could coast. And then later on it was comics they would bring in.  I didn't think they were as talented as some of the people I could book with these guys, and so I wasn't really working with the comics anymore as much as I used to, and so that's one of the things about smaller room is you can get to work with younger comics and you get to tell them the dos and the don'ts and hopefully guide them to a path where they can be their best selves on stage. Sure, that part I miss.  0:24:14 - Anne And actually, speaking of that, what sort of advice would you give to voice talent out there that want to continually up their game and stay on top of the voiceover game, because, boy, it's competitive out there, super competitive.  0:24:27 - Tom It's crazy, it's crazy.  0:24:29 - Anne Like just as I'm sure it was in comedy and being in the club. It's such a mental game a lot of the times too.  0:24:34 - Tom Yeah, the nice thing about voiceover having been a stage actor very early in my life is you don't see the person who you're auditioning for, so you don't see that look, as soon as you hit the stage, that you've already lost your audition. You're not the person they're looking for, and that's so disheartening sometimes so at least you go into every audition with this could?  0:24:56 - Anne be the one.  0:24:57 - Tom And I love auditioning, so I love going into another character or finding something I haven't found before, or even sometimes there's a couple of characters I do that I think, oh man, this one is definitely gonna find a home someplace. It's just a matter of getting in front of the right casting person hearing it. So I'll bring out those guys every now and then, when it's the right opportunity for those characters, cause they're like they're my buddies. I want them to succeed. Yeah, I think just have fun in the booth is the main thing, and if you need to take a break, tell your agent I need to take a break. I mean, I talked to other voice actors and it gets a little depressing. Everybody came in this business thinking that everybody always said I should be in voice acting and everybody always said this is what I should be doing and I did it and nothing's happening.  0:25:43 - Anne Yeah, what's your advice for that? Because that becomes like a mind game. It becomes like oh my God, I've done all this work, what else can I do? I mean, what would you suggest in terms of getting work? It seems like the question I get most often as a coach is like so all right, I've got this great demo now and had this great coaching, and so now, where's the work? How do I get the work? Or how do I stand out?  0:26:04 - Tom I think the thing about it is acting as a lottery. You're buying a lottery ticket is what you're doing. I mean, carlos Alice Rocky was a comic Lucky, had a job, state entertainment state creative, but it was getting the Taco Bell, chihuahua and all those people you auditioned from and he hit it, hit the lottery, you know so, and from there he's done so many other things. But when I say who Carlos Alice Rocky is, when I bring him up, I always go the Taco Bell, chihuahua guy and they go oh, I love that. So it's the same thing where you just go, my lottery ticket is gonna come and you're gonna believe in yourself.  When you believe in your talent and talk to other people in the business too. Just do classes I think it's still a good idea to do, just as even a workout session. Plus, you get some inspiration from other people who have a different style, maybe that you see something in yourself or you bring out something in yourself you didn't know was there. So I would say, take a class every now and then network with other people who just to have support, just so, hey, I'm here for you when you're down on yourself, in the same way that if I need somebody to talk to and say, hey, I'm really kind of wondering what the hell I'm doing here.  And they can talk you down from being sad or lift your spirits up and let you know you're really a talented person. That's why you got into this whole thing in the first place.  0:27:16 - Anne Yeah, I think that self-sabotage can happen to the best of us even.  0:27:20 - Tom And then sometimes you'll hear it in the reads. I mean, again, I'll go into a class and you can tell the person who's been beat down on pretty bad by themselves, mostly Cause do you have an agent? Yeah, do you have a demo? Yeah, well, you're doing all the right things and I think it's good to have an agent or two that are giving you good feedback or giving you feedback.  0:27:40 - Anne I was with an agency that way too many people.  0:27:43 - Tom The poop sticks agency you have 400 people that they represent and you just go. That's too many. I don't feel special when you're just going okay.  You got a demo, you're in. So I think, being with a smaller agency, that's a little more hands-on. Both my agents give me feedback every time, even if it's just a nice job. Yeah, and because of that I feel like I'm better for it, because I already know if I see a script, I know exactly what kind of read in the ballpark I need to be, so that's what I'm gonna get back. I'm at the point now where I really get back oh, you need to do this, this is too much, and something like that. So it's always I recognize what I'm working with right away. I do it, get it out, get the feedback, forget about it.  0:28:26 - Anne That's what you gotta do. I think a lot of people really crave feedback in this industry because we are just in our studios, kind of just talking into our little four padded walls, and so a lot of times it's hard when you don't get feedback and it's interesting.  0:28:40 - Tom Yeah, especially if you don't have a partner in a relationship, you know where you can at least go hey, honey, what do you think of this?  0:28:47 - Anne Yeah, you can bounce it off.  0:28:48 - Tom I don't bother my wife with everything, but every once in a while, you know, I go. You know, what do you think of this? Or she'll hear me and she'll go. I need to hear the whole thing. She'll hear me in my booth screaming, you know. And then now she has to hear all the stuff I did in that character.  0:29:04 - Anne I love what you said about well, at least when you're in front of a stage, I can, you can get that reaction from the audience. You know that, if you've bombed or not already, and the fact that when you're in your studio you actually use the fact that you're not in front of an audience as a creative kind of positive outlook, that you can be creative and not have to face that which is so interesting from, let's say, somebody that doesn't necessarily or hasn't started from being on stage. They might've worked a corporate job and now all of a sudden they're getting into character acting, and so they don't have that perspective. So I really like that perspective of taking the challenge and I think the creativity has to be in your brain, your imagination. You have to imagine that character in that scene, which is so difficult for some people. Do you have any tips on how to really create a scene realistically while you're sitting here in your studio?  0:29:53 - Tom Yeah, I think the most important thing, especially when you get those video games where it's like one line, one line, one line, one line, five, one lines and they're like hey, don't touch that rock and you're going. How are these people going to book somebody based on five lines that are no more than 10 words for the longest one?  and you're going, how am I gonna stand out in front of anybody? So you gotta kind of create a scene around those and those. I generally will write a bigger scene for the line and then because I'll have the line in there and I'll make sure that it doesn't bleed into the other words that I'm saying, but that gives me a little bit more emotional pop for that line.  0:30:35 - Anne Are you developing the characters that you're interacting with as well?  0:30:38 - Tom I know who I'm talking to. Yeah, so I might not have the character fully developed, but I know who I'm talking to.  0:30:44 - Anne Right, and what's happening in that scene? And what's happening, yeah, and you actually write that down.  0:30:48 - Tom I'll go on Word, I'll cut and paste the lines and then I'll put words around the line and highlight the line that is actually in it. So I have all the other words and a highlighted line to make sure I hit that one. But I know what's going on and I try to create more around it.  0:31:05 - Anne So how long would you say do you spend, let's say, analyzing and doing all that work? How long would you say you take for an audition to kind of do that creating the scene and writing that down before you go in and record?  0:31:17 - Tom It depends on my schedule and what I have to do and also how much I think something is really in my wheelhouse. I mean there's things you get where it's like I knock it out in 10 minutes because I really have a solid idea of what I'm gonna do with it and I go and do it and I listen to. It sounds good. With characters, though, with video games and animation, I really like to do as much as I possibly can. I remember I did this video game audition where the character was cockney. I called my dialect coach and we went through the whole thing together.  It was like a class for me. I thought this was a good opportunity to have a little class on doing a cockney accent and I said can I book our session with you? And we just worked on the script I was auditioning for because I really I loved it and I really wanted to nail it and, regardless, I got a class out of it. So it did two things for me helped me learn, and I put that learning to immediate use.  0:32:11 - Anne Absolutely absolutely.  0:32:13 - Tom And again, that's a really good thing to do is have a network of people, find a good dialect coach, find people that are teachers or coaches that you can work with, that you can go to and use them when you need, when you're stuck or when you just need something. Had a Pixar audition that I did and the character was obviously somebody from Eastern Europe and I had a friend who's from Ukraine and we went through the script and she helped me with some of the pronunciations and I didn't book it but I really felt confident sending it in.  0:32:45 - Anne I really felt like I nailed it Exactly. I love that because you've gotten the worth out of it, whether you booked it or not. So that's the other thing. So when you really are excited about something and you do all that work and you feel like you nailed the audition, but then you didn't book it, thoughts on how to stop that from getting you all upset and, oh my God, that's it.  0:33:03 - Tom Well, it's sort of like you still have to go. This is out of my control. I have no idea what the other person at the other end is going through what they've got in front of them. If they end up going with somebody that they've already booked for something and they can give them another character because union rules and it's like you did a really good job, maybe even better than that person but they're already booked and they don't have to pay another person to do that voice. They can do up to three voices and not get a penny more. So they go. Let's just give them that, so you don't know all the little things that transpire for somebody to get that part over you.  0:33:35 - Anne Yeah, and I think it's important for people to understand that it doesn't necessarily reflect on a poor performance or a poor audition.  0:33:42 - Tom No, my agent is a very funny woman and my auditions who I'm getting in front of have escalated. I'm doing more Disney Pixar auditions and stuff like that and she just goes. You're feeling upwardly.  0:33:53 - Anne There you go. I love that.  0:33:56 - Tom Which I thought was hilarious, because we always think we're failing. We're not. We're all doing the best we can and we're all doing great auditions. But because I'm doing so well in my auditions, other casting people are getting interested, so I am getting in front of people that I didn't get in front of, like four or five years ago.  0:34:12 - Anne Awesome, that's awesome. So even if you don't book the job, you could be making an impression on someone that can get you maybe the next job or the job after that.  0:34:21 - Tom That's the idea. They go well.  I really like that because you don't know, when I was booking COBS I would get DVDs and before that VHSs of comedians from around the country. We were very well known so I would get them from New York, boston, other parts of the country and they'd just pile up on my desk because it was excruciating for me at some times. So then at one point, when they were ready to fall over, I would just start watching them. In the beginning I would watch two or three minutes of somebody. Then it came down to just 30 seconds to a minute, because you know right away and that's how I'm sure it is for casting people.  0:34:56 - Anne You know right away if there's talent or if they were gonna be bookable absolutely or if they're right or wrong.  0:35:01 - Tom You might like them and you might wanna listen to the whole thing and you would go ah, they're just not quite right. I need a little bit of a younger voice. This is obviously somebody who's an older voice and I think it's really. I mean, I try to do what I can and have as much fun as I can, because there's gonna be probably 10 years down the road where this voice isn't gonna sound the same and I'll be doing grandpas and wizards.  0:35:22 - Anne So yeah, our voices do change as they age. I have experienced that myself. I certainly sound a whole lot different than I did 10 years ago. Well, well, this has been an amazing discussion, Tom. I so appreciate you taking the time and just dropping all these wonderful tips and tricks and words of wisdom for the boss listeners out there.  0:35:45 - Tom Yeah, yeah, have fun kids. That's the message.  0:35:47 - Anne There you go. I love that. So, bosses, I want you to take a moment and imagine a world full of passionate and powered, diverse individuals giving collectively and intentionally to create the world that they wanna see. You can make a difference. Find out more at 100voiceshoocareorg. And a big shout out to our sponsor, ipdtl. You, too, can network and connect with amazing people like Tom. Find out more at IPDTLcom. You guys have an amazing week and we'll see you next week. Bye.  0:36:18 - Outro Join us next week for another edition of VO Boss with your host, Ann Gangusa, and take your business to the next level. Sign up for our mailing list at vobosscom and receive exclusive content, industry revolutionizing tips and strategies and new ways to rock your business like a boss. Redistribution with permission. Coast to coast connectivity via IPDTL.  Transcribed by https://podium.page  

Send us a Text Message.Gopher is a monkey smuggler. There, I said it. This episode also dabbles in nose jobs, and Don Adams, the voice of Inspector Gadget and star of the classic TV series Get Smart. As is the case with most sitcoms, TV shows, and even movies from the 1970s, chimpanzees will invariably show up and create some kind of hilarity or havoc, and sometimes both. This happens a lot in this episode.There is also a storyline where two old vaudeville-type performers have a reunion that turns explosive and another plot where a woman boards the boat with a bandaged face and her mom tagging along. Doc makes his moves on the mom very quickly.Next, Isacc has a hell of a problem with his mom "living in sin" with a dude as they vacation on The Pacific Princess.  His mom is played by the famous old-time actress, singer, and comedian Pearl Baily.We also trip upon the topic of British comedy and Caleb tells of an old show where a mentally challenged character always wants to ... oh never mind, it's actually kind of sick. SHOW QUOTES: "Mummy, bitty bitty, mummy bitty."— Producer Caleb "Was this girl's nose job scheduled before the cruise, or did her mom just take her? Is this like a spa retreat for the nose job? Is she supposed to be hidden? Is my question kind of the chicken or egg? I'm just confused. Then there's the monkey."— Charlotte"I've got to question the safety of keeping a chimpanzee under your bed."— Rob  This one covers Love Boat season 1, episode 14.Visit LoveBoatExposed.com to dive deeper, and connect with the show; send us a message or record a voicemail for air. Make sure to subscribe - we're on all your favorite podcast platforms! rsmedia.group creationsFair Use Act DisclaimersInformation contained on this podcast and all related materials is for criticism and commentary, as well as for research and educational purposes. Under section 107 of the Copyright Act of 1976, allowance is made for “fair use” for purposes such as criticism, comment, news reporting, teaching, scholarship, education, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing.

People's testimonies and Life experiences are some of the most powerful encouragements for us as we walk through this life! It was such a privilege to be able to sit down with two individuals who have walked a lifetime of discipleship with so many throughout the years. Join my conversation with Bob Pettis and Don Adams, it was a great one!

GGACP's celebration of National Humor Month rolls on with this ENCORE of an unforgettable 2019 interview with actor-voice artist Billy West and comedian Jackie Martling. In this episode, the boys discuss the cinema of George Pal, the versatility of Paul Frees, the uniqueness of Peter Sellers and the enduring legend of Joe Franklin. Also, Jonathan Winters disses Don Adams, Jack Carter guests on "Ren & Stimpy," Billy meets The Man from Uncle and Jackie weighs in on the Gilbert-Shecky Greene clash. PLUS: "Shock Theater"! "7 Faces of Dr. Lao"! The return of the Jackie puppet! Curly Howard takes a bullet! And George Jessel duets with...George Jessel? Learn more about your ad choices. Visit megaphone.fm/adchoices

This episode's guest is Barbara Feldon, a model, author and actress best known for portraying “Agent 99” on the classic ‘60s sitcom “Get Smart.” Feldon was born Barbara Anne Hall in a suburb of Pittsburgh and studied drama at Carnegie Mellon University. Soon after, she departed for New York City to pursue a career in acting, where a stint as a showgirl led to her appearance on the game show, “The $64,000 Question,” where she took home the top prize for her knowledge of Shakespeare. The next year, Barbara married Lucien Feldon-Verdeaux, a handsome European she'd been dating, and took “Feldon” as her last name personally and professionally. Working as a fashion model led to a few TV ad spots before landing the one that would make her a household face, lolling about on an animal rug and daring all the male “tigers” out there to try Revlon's Top Brass hair tonic. That led to securing the plum role of Agent 99 in the spy spoof “Get Smart” opposite comedian Don Adams. The role became Feldon's biggest break, leading to an Emmy nomination and several film roles to boot. In more recent years, Feldon has written two books: 2003's “Living Alone and Loving It: A Guide to Relishing the Solo Life” and, in 2022, “Getting Smarter: A Memoir,” which recounts for the first time the true story of her marriage and the many lessons she's learned since. --- Support this podcast: https://podcasters.spotify.com/pod/show/everythingfabfour/support

National peach cobbler day. Pop culture from 1977. !st elephant in U.S., Apollo 13 has a problem, 1st person to fly over everest. Todays birthdays - Thomas Jefferson, Don Adams, Peabo Bryson, Rick Schroder, Al Green, Lou Bega, Aaron Lewis.

Barbara Feldon Live on Game Changers With Vicki Abelson The best? Certainly none better. I'm not sure anyone has ever exceeded my very high expectations greater than Barbara Feldon did this day. As much as I admired and adored Get Smart's Agent 99 for her sophistication, intelligence, knowingness, sly, perfectly delivered humor, demure yet smoldering sexiness, and downright gorgeousness… Barbara is all that, and a truckload of Cheetos. It was so overwhelmingly powerful and thrilling to deep dive with this wise, self-effacing, self-aware, thoughtful, beyond-imagining age-defying beauty, I was filled to the brim with emotion, electricity, excitement, and enlightenment. I got answers to questions I've been seeking for years, and I just used more adjectives than I did in my entire novel. That's what Barbara's done to me. In the middle of her unputdownable just-dropped memoir, Getting Smarter, I had intended to speedread it but found I couldn't skip a word, and I can't wait to finish these liner notes so I can return to it and find out how this woman who played a spy, thought she was married to one, a sexy Frenchman named Lucien (or was he), long before she donned his real-life trench coat on TV. Their more dramatic than fiction love story will make a spectacular streaming series someday soonish, I have little doubt. Of course, we talked Don Adams, Mel Brooks, Buck Henry, and the genius that was Get Smart... how she got it, what led her there––that sexy commercial she purred through, Colleen Dewhurst, George C Scott, The Man From Uncle, what the actual experience was for her, the real rapport between her and Don, and how it shifted 20 years later, Dean Martin––swoon, Laugh-in, and writing––how as a tool it saves and evolves her and how it's become her life's work. How love has shaped her life and her work. An hour and a half of Barbara was simply not enough. I was so fired up, after the show, I called to say a quick thank you and we ended up chatting for another half hour. She's such a warm and generous soul. It was an absolute love fan fest with someone I feel like I've known forever and hope I will. Enough! Back to the cone of silence for me to finish reading Getting Smarter. If you wanna get smarter, hit this bit.ly/3FKjljg and jump into Barbara's beautifully written, as exciting as a spy novel, memoir. As much as I loved and looked up to Agent 99 as a girl, I adore Barbara Feldon even more. Please don't miss this one. Wow, what a woman! Barbara Feldon Live on Game Changers With Vicki Abelson Wed, March 22, 5 pm PT, 8 pm ET Streamed Live on The Facebook Replay here: https://bit.ly/3JBC9CA

Guest Barbara Feldon dishes on bts ‘Get Smart' memories, Don Adams, her beautiful memoir, Dean Martin, the great love of her life, NYC in the 60's and a whole lot more. A serious treasure.

OK fans of 1960s sitcoms, time to get out your shoe phone and deploy the cone of silence because this week we feature Don Adams, a great standup comic who scored the role of a career when he was tapped to play Maxwell Smart, Agent 86, in the Mel Brooks/Carl Reiner classic Get Smart. Before becoming the world's most confident (and least capable) secret agent, Don was a regular on tv talk shows with standup that mixed satire, snark, and great character voices. Later Don would use his voice acting skills on kids cartoons such as Tennessee Tuxedo and Inspector Gadget (an homage to his Get Smart character). Find more Don Adams below and thanks for sharing our shows! Want more Don Adams? Before (and after) Get Smart, Don was a top standup comic. He wasn't a rapid fire joke teller and he wasn't a modern observational comic. Rather he set up scenes that played to his voice acting talents. This set from the Steve Allen Show -- which Don guested on 15 times -- is a good example of his standup style. https://youtu.be/7vpkoqzd39s Get Smart was a smash from day one, mixing great visual gags with groaners and featuring inspired parodies of the spy genre. This clip package does a good job at capturing what made the show unique. https://youtu.be/rEGA7eyWeAA Don was typecast after Get Smart and couldn't get traction in unrelated sitcoms or periodic attempts at a reboot. One area in which he found continued success was voice acting and in Inspector Gadget he found the perfect role -- one that sounded suspiciously like one Maxwell Smart!https://youtu.be/bw1nuljvW

The creative team, fans and followers of the Amazing Colossal Podcast celebrate what would have been the 100th (!) birthday (January 8, 1923) of the late, great actor-comedian Larry Storch with this ENCORE of an interview conducted in Larry's New York City home in the spring of 2014. In this much-loved episode, Larry talks about his days in burlesque and (mob-owned) nightclubs, his gift for accents and dialects, his decades-long friendships with Don Adams and Tony Curtis and his memories of everyone from Lucille Ball to Jackie Gleason to Buddy Hackett to Orson Welles. PLUS: John Barrymore! "Tennessee Tuxedo"! Louis Prima inspires the Groovy Guru! Larry tells some of his all-time favorite jokes! And the boys warble an impromptu rendition of the “F-Troop” theme! Learn more about your ad choices. Visit megaphone.fm/adchoices

The New Scooby Doo Movies was the place to be for 70's Hollywood stars! This week Jovial Jay and Shua celebrate this fun Scooby series and how much fun they were on Enjoy Stuff!   Hollywood guest stars galore on 1972's The New Scooby Doo Movies! Join us as we look back on one of the most unique of the Scooby series.    News David Harbour will star in a movie version of the 90's racing video game Gran Turismo If you like Stranger Things, you can now stay in a very authentically themed room in a Graduate hotel  Check out the new LEGO minifig-sized handheld video game from PocketStar Why are our favorite retro cartoons responsible for the climate crisis? Listen in to find out who the morons are that are making this claim Modern day Scooby Doo movies are coming to Netflix October 1 What we're Enjoying Jay lept right into the new reboot of the Quantum Leap series, with Raymond Lee as the newest leaper. The premise follows a team that has been looking for Dr. Sam Beckett somewhere in time, but for reasons we aren't yet aware of, Lee's character Dr. Ben Song gets trapped for the same reason as the original. There's a lot of potential here and we can't wait to see where it goes. Shua got a bit more medieval by jumping into Amazon Prime's Tolkien series Lord of the Rings: Rings of Power. It's an origin story of the rings that takes place in a whole different age as the Peter Jackson movies. He is loving it!    Sci-Fi Saturdays/MCU Location Scout 31 Days of Horror is coming on October 1! In the meantime, Sci-Fi Saturdays will be on a little break. But you can check out some cool new filming locations with his MCU Location Scout. There are new entries from She-Hulk and Thor: Love and Thunder.  And don't forget his articles on MCULocationScout.com for some great, interactive maps of filming locations.    Enjoy Cartoons! In 1972 Hanna-Barbera debuted the second chapter of the still popular Scooby Doo series called “The New Scooby Doo Movies”. This popular series ran 24 hour-long episodes, the only Scooby Doo series to be that long. But what really made it stand out was the “real-life”-ish guest stars in each episode. These guest stars joined the Scooby gang to track down the truth of a mystery. A lot of the guests were voiced by their true life counterparts, or at least the voice actors that portrayed the animated characters on other Hanna-Barbera cartoons.    Some of our favorite guest stars were Don Knotts, the Harlem Globetrotters, Sandy Duncan, Davy Jones, Jonathan Winters, and Batman and Robin, and Don Adams. They got the opportunity to have fun with the Scooby gang and make us wonder who was going to be on next week.  Did you watch The New Scooby Doo Movies? Who were your favorite guests? First person that emails me with the subject line, “Enroy Ruff” will get a special mention on the show.  Let us know. Come talk to us in the Discord channel or send us an email to EnjoyStuff@RetroZap.com

TVC 584.1: An encore presentation of our September 2014 conversation with Larry Storch, the actor known around the world as Corporal Agarn on the classic comedy series F Troop (ABC, 1965-1967). Among other topics, Larry talked about his early career as a stand-up comedian (and how Lucille Ball gave him his first break), plus he shared some memories of working alongside Tony Curtis, Peter Falk, Don Adams, and, of course, Forrest Tucker. Larry Storch passed away this past Friday, July 8 at the age of ninety-nine. Want to advertise/sponsor our show? TV Confidential has partnered with AdvertiseCast to handle advertising/sponsorship requests for the podcast edition of our program. They're great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started: https://www.advertisecast.com/TVConfidentialAradiotalkshowabout Learn more about your ad choices. Visit megaphone.fm/adchoices

This is not a drill... THIS IS A FULL ASS T-Rex Episode and there are sooooo many triggers!   Now that that's out of the way.  Let me just say, this is the hardest episode in the series about Willie Pickton.   In this episode we discuss Project Evenhanded doing the damn thing.  Don Adams, Dana Lillies, and our boy Nathan Wells are the main characters.  I do read from the book, 'On the Farm' by Stevie Cameron.  She does an amazing job detailing every aspect of this case.     Also, in this episode, we dive deep in the interrogation, the cell plant, and what was found from February 2002 to September of 2002.  Honestly, I couldn't handle much more.  We'll wrap this all up in Part 5, and then focus on each victim, or as much as we can on each victim.     P.S. listen to the end, Paige helps bring us back to neutral after a full ass T-Rex episode.     Find our friends at Live Laugh Murder at: https://www.instagram.com/livelaughmurderpodcast/   Find all our shit (even our website... it's dope) at https://linktr.ee/m3truecrimepod   Sources: https://www.amazon.com/Farm-William-Pickton-Vancouvers-Missing/dp/0676975852/ref=asc_df_0676975852/?tag=hyprod-20&linkCode=df0&hvadid=312111908051&hvpos=&hvnetw=g&hvrand=4845332096600983722&hvpone=&hvptwo=&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=9013164&hvtargid=pla-435551311125&psc=1   Music:  Listen on Spotify: https://go-stream.link/sp-nick-cleveland Track: Liar Artist: https://slip.stream/artists/nick-cleveland Music by Slip.stream: https://slip.stream/tracks/f64560d6-370f-49fa-bbac-4068205ef56b  

Andrew Nicholls joined me to talk about taping The Tonight Show; early English children's TV; The Flintstones; Monty Python; meeting Darrell Vickers; writing The Blob as a musical; trying to write a book depicting the real life of a comedy writer; how TV is like any other job in some ways; TV being a collaboration - both good and bad; We're Only Joking; how working in Canada gave him and Darrell a full tool kit for writing comedy; the many jobs in comedy he had; Alan Thicke buys some jokes but uses all that were sent; Thicke of the Night; teaming up writers to save money; Wayne Kline; how poorly the show was run; SCTV's parody; babysitting a young Robin Thicke; didn't sit in the audience of the shows he worked on so he has a different experience; writing for Mickey Rooney; working on the pilot Apartment 2C with George Carlin; finding scenes from the Canadian sitcom Flappers co-starring Martin Short on You Tube; SCTV still holds up; Jimmy Neutron's notes flummox fans; sending a first draft away being like sending finely crafted sausage to a pack of dogs; network notes and suits; David Birney on St. Elsewhere; writing a sample package for Johnny Carson that two agents said wasn't good enough but got them the job; how Shelly Cohen got their package to Johnny; 13 week cycles of firings; Johnny saw their output and they stayed; Johnny firing everyone but them after 1988 Writers strike; meeting at Johnny's home in Malibu weekly; Check it Out; Don Adams; Art Fern, Telescam, Aunt Blabby; Teresa Ganzel; show only stopped tape twice; Overlaying Billboards; my favorite episode from 1990; George Carlin; people who died jokes; Johnny's theory, "If people laugh, it's funny"; Roget's Eulogy; two sketches that were nixed: Tongue Twister Magazine and Limerick Bank Robbery; doing remotes from Kentucky; Dominoes Deliverymen Falling; Sniveling Weasel Awards; Worlds Longest Limo; Johnny did not want to do remotes; remotes dubbed over by Johnny; George Carlin Show; Pearl; consulting on sitcoms; The Magic Hour and Howard Stern; British TV

Set sail on Episode 14, Season 1 of the Love Boat, the worlds greatest romantic comedy drama television series of all time! In this episode we follow an all star cast that includes Don Adams, Nanette Fabray, Tracey Reed, Pearl Bailey, Allyn Ann McLerie, and Louise as they deal with maternal devotion, love at first sight, show biz squabbles, career/relationship resurrections, and kleptomaniac simians. We also encourage everyone to find our Instagram page Lovin' The Love Boat to enjoy the super cool video messages from Isaac himself Mr. Ted Lange! And much more. Thanks for listening to the podcast and joining us on this voyage and by all means consider subscribing to the show as well as Paramount+ so you can watch the episode with us. We promise you'll be glad that you did. *If you enjoy the show and want it to continue please tip our crew any amount via Venmo: @istvansongs * Be sure to check out Istvan's other amazing podcast for kids and families, Istvan's Imaginary Podcast available everywhere podcasts are found. * Find and Follow our new Instagram profile here: @lovin_the_love_boat * And follow Istvan on Instagram: @iamistvan or on his website: www.istvansongs.com

Bill Dana was a comedian, actor, and screenwriter. He wrote many routines including “Would You Believe?” for Don Adams on the popular “Get Smart” TV sitcom. Bill created the character Jose Jimenez on “The Steve Allen Show” for the man-in-the-street segments. His many TV appearances included the bumbling elevator operator on “The Danny Thomas Show.” And his Jose character was included in several scenes of the 1983 movie “The Right Stuff.” His popular albums were “My Name is Jose Jimenez” and “Jose Jimenez the Astronaut.”

Peter Mehlman joined me to discuss It's Like You Know; his pursuing stand up; Seinfeld and my coincidences; college; Shirley & Maury Povich; being a Yankee's fan, MLB's disclaimer; both of us having dogs named Izzy; Howard Cosell; hypocrisy in sports; NFL anti-trust; sports fans in the US: Detroit Lions; Knicks; Lakers; Lifetime's Attitudes; Dick Cavett; Woody Allen; meeting Larry David; using an article as a spec script; trying to go to all 50 states; writing the "Costanza - Lord of the Idiots line"; length of episodes; Jerry's stand up interstitials; Larry saves the show in editing; Don Adams; Bruce Kirschbaum; "get out"; Teri Hatcher; Courtney Cox; "The Chiese Woman"; Estelle Harris; Liz Sheridan; Taxi; favorite episodes, characters; "The Sponge"; "The Yada Yada"; working on stand up; meeting your idols; Seinfeld's writers credit; networks try to get around quality; reality shows sink scripted shows; the big three networks barely staying alive; Gilbert Gottfried

Actor Bernie Kopell joins me to discuss his amazing career. Bernie is immediately recognizable from his roles as Siegfried in Get Smart and Dr. Adam Bricker ("Doc") on The Love Boat. Bernie discusses his career which includes some great Mel Brooks stories, many stories from the set of The Love Boat, working with Dick Van Dyke, Don Adams and so much more! Our Guest, Bernie Kopell https://www.imdb.com/name/nm0465728/ http://www.berniekopell.com http://www.berniekopell.com/biography/ Hashtag Fun: Jeff dives into recent trends and reads some of his favorite tweets from trending hashtags. The hashtag featured in this episode is #ThingsDoctorsShouldntSay from @classictags. Tweets featured on the show are retweeted at @JeffDwoskinShow Follow Hashtag Roundup to tweet along with fun hashtags daily! https://twitter.com/HashtagRoundup Download the Hashtag Roundup app at https://app.hashtagroundup.com/ Follow Jeff Dwoskin: Jeff on Twitter: https://twitter.com/bigmacher The Jeff Dwoskin Show: https://twitter.com/JeffDwoskinShow Podcast website: https://jeffisfunny.com Instagram: https://instagram.com/JeffDwoskinShow Learn more about your ad choices. Visit megaphone.fm/adchoices

On the season premiere the panel reviews the Pilot episode of the television comedy Get Smart which aired September 18, 1965 the series stars Don Adams (as Maxwell Smart, Agent 86), Barbara Feldon (as Agent 99), and Edward Platt (as the Chief). Created by Mel Brooks and Buck Henry. 4/5/22 Hosts: Kinte www.instagram.com/kinteferger... Jen www.instagram.com/followingbl... Olaf www.instagram.com/olafbarbosa/ Renee www.instagram.com/rdcartbydes... Josh www.instagram.com/chittyjoshua/ Toryhttps://www.instagram.com/rushtory/ "Mr. Big" Maxwell Smart must defeat the sinister Mr. Big, who is using a device called the Inthermo to threaten New York City. Michael Dunn, who would go on to star as The Wild Wild West's Dr. Miguelito Loveless, stars as KAOS's Mr. Big. Note: This was the only black and white episode of Get Smart; all others were in color. Pilot Season is a show where a panel rates and reviews the first episode of a television show drama or comedy. In season one reviews of such classics of Gilligan's Island, Get Smart and the Golden Girls will be review. As well as dramas such as Lost, The Practice and the Sopranos. The show is hosted by Kinte.

Part 2 of when Jason and Andy try discussing the fourteenth episode of the Love Boat - S01E14, Isaac's Double Standard/One More Time/Chimpanzeeshines. Issacs's Mom plays the cuspid trombone, Don Adams and Mitsy develop a horrible act, and that godamn chimp continues to ransack the ship. Meanwhile, Andy fantasizes about boning said orangutan, Jason fantasizes about a devils threesome with Andy and the orangutan, and Brian finds a quarter but doesn't tell anyone.

Deploying strong illustrations opens lines of connection with the audiences you serve.  Your audience could be a Sunday morning congregation, a negotiation table, a talk with a mentee, or any number of opportunities. This week and last week, I sat down with nine master storytellers to hear how they use what Alyce McKenzie calls “illustrative energy.” My favorite part of these interviews was when each guest had the opportunity to share a favorite story.  Episode One - Drs. Matt Friedeman, Marion Platt III, Alyce McKenzie, and Commissioner Sue Swanson  YouTube - https://youtu.be/U0xmvgJ1Et4 Episode Two - Captain Antwann Yocum, Rev. Elijah Friedeman, Major Andy Miller, Jr., Dr. Don Adams, and Rev. Stan Key  YouTube - https://www.youtube.com/watch?v=0hRg-c_UoaYToday's episode is brought to you by two sponsors:  Bill Roberts is a financial advisor, who has been serving the retirement planning and investment needs of individuals, families, non-profits, and churches for 25 years. He is a Certified Financial Planner and accredited investment fiduciary.  Bill specializes in working with Salvation Army employees and officers by helping them realize their financial goals. You can find out more about Bill's business at www.WilliamHRoberts.com Keith Waters and his team at WPO Development do an amazing job helping non-profits and churches through mission planning studies, strategic plans, feasibility studies, and capital campaigns. We are honored to have Keith and WPO on the More to the Story team. You can find out more about them at www.wpodevelopment.com or touch base directly with Keith at Keith.Waters@wpodevelopment.com.

This week, Geoffrey Mark, Cindi Verbelun and Ray Carr take their listeners into the world of Yarmy's Army, the legendary band of comedians and comedy writers originally formed by Dick Yarmy, the younger brother of actor/comedian Don Adams. Learn more about your ad choices. Visit podcastchoices.com/adchoices

A little .38 special rendition from Iggy this morn. The ladies in Austin. Is Texas a part of the south? Deidre article about catfishing. Iggy's nomenclature. Don Adams. Celebrity bowling. The producing staff on dating apps. Iggy will take you on a date to the grocery store. Mark Hannah joins the program. Jackson's dating life. EMOTD.

It's dark outside, but we are the light this city needs. Doug is banty about sleep. Hats. Iggy's search skills. Tam O'Shanter hat. Brockabella. The Bachelor. Oscars. Bowling for dollars. Don Adams. The Fats. Iggy brought pie. Larry Nickel joins us for WWE Recap. Grasscutters. Iggy's research. Doug vs Iggy rehash their DK beef. Iggy preforms well under pressure. Iggy tells a story about a fight on the 8th green at Normandie. Walrus people. Venmo. Doral. 

Richard speaks with a California-based psychic medium about her experiences with the Illuminati in Hollywood. They'll discuss Hollywood's darkest secret: widespread pedophilia and the use of ritualistic sex abuse to create mind-control victims. GUEST:  Sloan Bella was born with psychic-mediumship abilities and by the age of four Sloan learned to articulate nightly visits by other worldly beings, "aliens," and the spirits of those people who had crossed over. These communications went on throughout her childhood. This was how she began to develop her ability to act as a conduit and to speak the different frequencies that exist around us.  Sloan was established as a professional psychic-medium, while deeply entrenched in the street, music vibe, while reading for everyone from Gregory Hines to Don Adams, as well as a large clientele which included street kids and runaways, teachers, musicians, businessmen, actors, strippers, Congressmen, housewives, athletes, and anyone who needed help. Sloan's abilities at one point were even sought after by the head of a major crime family. Sloan was always connected to the other side and one of the most unusual connections was her Mediumship communication with the late Jimi Hendrix, who guided her and aided her work on the streets of Toronto and Hollywood, as a "street psychic" with intuitive guidance to runaway and sexually-exploited children.