Podcasts about Drakkar Noir

We are joined by real life bffs and on screen teenage lovers, Majandra Delfino and Brendan Fehr from The Ex-Files podcast. The two co-stars reminisce about their first kiss on the iconic TV series–Roswell and how Majandra’s teenage diary has come to haunt them today. They’ve brought a very special Early Aughts cart to the show for a nostalgic walk down memory lane which includes first kisses, flammable flight jackets, Drakkar Noir and Doc Martens. Please note, Add To Cart contains mature themes and may not be appropriate for all listeners. To see all products mentioned in this episode, head to @addtocartpod on Instagram. To purchase any of the products, see below. Majandra’s list: Doc Marten of choice Vintage glasses Liquid Eyeshadow BlackBerry Bold Brendan’s list: Starter Jacket Shreddies Cologne of choiceSee omnystudio.com/listener for privacy information.

In which Jorge and JT reach into that shopping bag full of Aquanet, Swatches, cassettes, and Drakkar Noir to bring you their faves from 1983.TOPICSChristineCujoCurtainsThe KeepMausoleumOf Unknown OriginPsycho 2Sleepaway CampTwilight Zone: The MovieNEXT WEEKDemián Rugna Double FeatureLINKShttps://linktr.ee/podferatuFind us on Letterboxd!Skull logo by Erik Leach @erikleach_art (Instagram)Theme:  Netherworld Shanty, Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 3.0 LicenseWe'd love to hear from you!

Hurricane Helene Damage Is Insane. Longshoreman Strike. Israel Ground Offensive Has Begun. Vance - Walz Debate Tonight. Pete Rose gone at 83. Activist Georgia Judge. Drakkar Noir making a comeback. Braun and the altered ad. Helene Getting Political. Used Safe for Sale. 2024 Carmel Clay School Board Debate Got Ugly. KJP says the ICE stat of 13,000 convicted murderers crossing the border has been "fact checked". Indianapolis Foundation unveils strategic plan aimed at addressing inequality. Trump has more working class support than any GOP presidential candidate in a generation. Longshoreman strike. Will Biden invoke Taft-Hartley Act? Latest Trump polling. Vance – Walz Debate 2ntSee omnystudio.com/listener for privacy information.

Hurricane Helene Damage Is Insane. Longshoreman Strike. Israel Ground Offensive Has Begun. Vance - Walz Debate Tonight. Pete Rose gone at 83. Activist Georgia Judge. Drakkar Noir making a comeback See omnystudio.com/listener for privacy information.

Send us a Text Message.Spacemen, have you ever given much thought to how you smell? Or wondered if others have given much thought about the way you smell? Do you wear cologne? Too much? Wrong scent? Is your lady friend impressed? Does it matter? Today, Matt, Mike, and Rob tackle smell. Matt got all smelled up for the show and really impressed us. Does he ever not? But maybe, we're just impressed with Matt and he just feels more confident when he smells of musk and manliness. So spritz on the ol' Drakkar Noir and listen in. keywordsmen's scents, fragrances, cologne, lotions, body sprays, book club, scent, masculinity, success, memories, preferences, personal confidence, attraction, emotions, moods, individual, hygiene, groomingtakeawaysMen's scents can have an impact on attractionPopular fragrances from the past include Obsession, Drakkar Noir, and Cool WaterSome men use lotions and body sprays as an alternative to cologneThe hosts announce an upcoming book club discussion on Dave Grohl's 'The Storyteller' Finding the right balance with cologne is important, as overdoing it can be overpowering and off-putting.Scent preferences are subjective and can vary between individuals.Certain scents, such as wood or leather, can be associated with masculinity and success.Women may have a higher sensitivity to musk scents, which are commonly found in colognes. Wearing certain scents can make individuals feel more confident and attractive.Scents can be more for the individual wearing them rather than for attracting others.Personal hygiene and grooming play a significant role in self-confidence.Sound Bites"Cannibals functioning on pheromones, rational thought lost to instinctual""It just smelled like something good was happening in there.""It just smells like power and confidence in this place.""Smells like Papa.""Like they're almost kind of like getting in the mood themselves""I feel confident, I feel like a million bucks""Maybe the scent is much more for you"Chapters00:00Nostalgia for Popular Fragrances03:10Discussion on Smells and Fragrances06:51Using Colognes and Lotions09:47Importance of Hygiene and Pleasant Smells14:49Men and Scents: What Attracts Your Wife?23:48The Power of Scents: Memories and Aspirations31:02Wood Shop Smells and Positive Associations34:33Introduction to the topic of wearing cologne36:23The allure of a good cologne applied in the right amounts38:36The perception of cologne as a lack of confidence41:27The personal nature of wearing cologne47:19The science behind attraction and body odor52:28Generational differences in wearing scents57:51Embracing personal preference and confidence in wearing cologneSpread the word! The Manspace is Rad!!

From the spicy sophistication of Portrait of a Lady to the unexpected amusement over Creed's pint-sized perfumes, we're toasting to the olfactory adventures and the cherished patrons who've made this journey an unforgettable ride. We even take a cheeky little detour to revisit Drakkar Noir, a classic that's as controversial as it is iconic, proving that some scents never truly fade. Our episode is a mishmash of memory lane and the scent-sational present. Together, we unwrap the layers of Portrait of a Lady like it's the first time, debating its gender-bending bouquet and whether it still captivates our seasoned nostrils. We can't help but draw parallels to other rose-infused contenders that have crossed our paths, sparring over each other's take on its timeless allure. And as we dissect the dynamics of musky fragrances, we confront our personal biases, asking whether a scent can be judged by its sillage or if the true essence lies in its quiet linger.Support the showLeave us a voicemail

Uncover the mysteries of this bold vintage scent given to us by our loving patreon Jonathan Bleep, and see how it stacks up against the sweet expectations and nostalgic memories it conjures. We're not just sniffing around the past; we're also giving you our unfiltered opinions on Prada Luna Rossa Ocean Le Parfum in our one-night stand review. Hear our discussion on the trade-offs between price and uniqueness in today's fragrance landscape, and get a whiff of innovation—or lack thereof—through a listener's insightful commentary.Fasten your seatbelts for a trip through scent and cinema as we examine the notes of Drakkar Noir, from the refreshing top notes down to the musky depths, and ponder if 'evil shaving cream' is an apt descriptor. Along the way, indulge in our musings on noir film tropes that parallel our aromatic escapades, and chuckle with us as we reminisce about past podcasting ventures such as 'Amateur Dicks,' where we fancied ourselves as sleuths. We're also weighing the pros and cons of splurging on full bottles versus sampling, navigating the value of fragrances. This episode is not just about scents; it's about the stories they tell and the impressions they leave.Support the showLeave us a voicemail

Hutt and Chad hash out a plan to get Davey on a Creed Cruise and everyone needs a little Coach Mudd in their life. Learn more about your ad choices. Visit megaphone.fm/adchoices

Have you ever been whisked away by a scent so evocative it's like time travel in a bottle? That's exactly where Myke and Ryan take you in our latest olfactory escapade, as we unearth the divisive "clean linen and cheap iced tea" fragrance that once stirred up a storm. Climb aboard our scent time-machine, where we also pay homage to the '90s classic Ralph Lauren Polo, questioning whether its latest rendition stands up to the ol' aromatic giant. And for those who relish the chase, we tease the upcoming segments featuring the elusive vintage Drakkar Noir and much-mourned, discontinued Tom Ford wonders.Imagine a scent so vivaciously citrus it could jolt you out of bed quicker than a triple espresso. That's the centerpiece of our aromatic discussion, a fragrance that has been with us since the early days and yet continues to dazzle and challenge our senses. Myke and Ryan unpack the rollercoaster of memories this scent evokes, interspersed with laughter and the odd hayride anecdote. Plus, we spill the beans on how to get your hands on your favorite fragrances without breaking the bank—because let's face it, smelling great shouldn't cost a fortune.Support the showLeave us a voicemail

Internationally-known DJ, Entrepreneur, and now Fragrance Founder Zernell Gillie is in the Perfume Room! As a lifelong fragrance collector, in 2022, Zernell decided to combine his two greatest passions to launch an eponymous fragrance line. With extraits at a whopping 50% concentration, and fragrances all inspired by different genres of music, it's no wonder this new brand is already buzzing in the niche scene. Plus I review the LAFCO x Sir Candle Man launch, Heart of the Matter. FRAGS MENTIONED: LAFCO x Sir Candle Man Heart of the Matter, Nejma 7, Pierre Cardin, Aramis, Polo Green, Geoffrey Beene Bowling Green, Drakkar Noir, Halston Z-14, Zernell Gillie: House, Techno, Disco, Hip Hop; Issey Miyake, Chanel Egoiste, Lagerfield, Roja Sweetie Aoud, MDCI Invasion Barbare, Royal Crown Sultan, Roja Manhattan SHOP: luckyscent.com (perfumer00m for 10% off) FOLLOW: @zernell.gillie Some products mentioned were gifted in PR with no obligation to post/review.

Script Supervisor Ari Halpern  joins us to talk about "You Opened The Door."In this episode we discuss what it took to get eighth's of a page, cartwheels, measuring girth, and Drakkar Noir.Thanks for listening!If you have any questions, or comments, email us at: thegoldbergsrewind@gmail.comFollow us on instagram @thegoldbergsrewindHosts: Cory Lorenzen, Vern Davidson, and Jem ElsnerProduced by: Emily ElsnerMusic by: Michael Tavera

From the dark recesses of 1980s television to our AI overlords, things get a little serious in this episode. Topics include: body odor; mosquitoes; Drakkar Noir; showering daily; childhood trauma; dark episodes of 1980s family sitcoms; The Algorithm; the singularity; Monsters of the Week include McDonalds, Congress, SCOTUS, and rude shoppers; King Ladybug  #podcast #funny #comedy #comedypodcast #hygiene #patchouli #DrakkarNoir #ChildhoodTrauma #ValeriesFamily #Algorithm #singularity #McDonalds #congress #SCOTUS #stalker Tom's Twitter: https://twitter.com/StoryTimeTom1  Mike's Twitter:  https://twitter.com/StoryTimeMike1  Cartoon avatars of Tom & Mike created by Gary Bacon: https://twitter.com/pixelbud  ***************************************************** VISIT OUR OFFICIAL SITE! https://www.tomandmike.com  ***************************************************** Check out our let's play channel, Gaming with Tom & Mike: https://www.youtube.com/@gamingwithtommike 

Hour 3: Courtney Cronin and Randy Scott in for Canty and Carlin are joined by Chris Carlin to ask what his first cologne was, why he is so Chris'd off about people who don't watch Must-See TV right away and Game 5 of the ECF. ESPN NBA Reporter Tim Bontemps joins the show. Plus we Get Down! Learn more about your ad choices. Visit megaphone.fm/adchoices

Hour 3: Courtney Cronin and Randy Scott in for Canty and Carlin are joined by Chris Carlin to ask what his first cologne was, why he is so Chris'd off about people who don't watch Must-See TV right away and Game 5 of the ECF. ESPN NBA Reporter Tim Bontemps joins the show. Plus we Get Down! Learn more about your ad choices. Visit megaphone.fm/adchoices

Miss Heard celebrates Season 4, Episode 186 with Chicago's “Hard Habit To Break.” Brings back middle school memories for Miss Heard and her childhood crush and Drakkar Noir and Polo. You can listen to all our episodes at our website at: https://pod.co/miss-heard-song-lyrics Or iTunes, Stitcher, Spotify and many more platforms under Podcast name “Miss Heard Song Lyrics” Don't forget to subscribe/rate/review to help our Podcast in the ratings. Please consider supporting our little podcast via Patreon at https://www.patreon.com/MissHeardSongLyrics or via PayPal at https://www.paypal.com/paypalme/MissHeardSongLyrics #missheardsonglyrics #missheardsongs #missheardlyrics #misheardsonglyrics #misheardsongs        #misheardlyrics #HardHabitToBreak #Chicago17 #PeterCetera #BillChamplin #LeslieLibman   https://www.youtube.com/watch?v=_aCAZNcTVeo https://en.wikipedia.org/wiki/Hard_Habit_to_Break https://en.wikipedia.org/wiki/Chicago_17 https://www.songfacts.com/facts/chicago/hard-habit-to-break https://en.wikipedia.org/wiki/Bill_Champlin https://en.wikipedia.org/wiki/Leslie_Libman

This week, we're recalling a product that reeks of eau de school dance and might leave you with a small headache: Drakkar Noir. Join us as we discuss the fragrance that men had to have and women couldn't get enough of, changed the landscape of scent ads, and paved the way for Axe Body Spray.To leave a voicemail or text for a future episode, reach them at 781-591-0390. You can also email the podcast at forever35podcast@gmail.com.Visit forever35podcast.com for links to everything they mention on the show or visit shopmyshelf.us/forever35.Follow the podcast on Instagram (@Forever35Podcast) and join the Forever35 Facebook Group (Password: Serums). Sign up for the newsletter! at forever35podcast.com/newsletter.This episode is sponsored by:MASTERCLASS - Visit masterclass.com/forever35 for 15% off the Annual All-Access Pass.BETTER HELP - Get 10% off your first month with the discount code FOREVER35. Go to betterhelp.com/FOREVER35 to get started today.OURA RING - Visit OuraRing.com/FOREVER35 to find the right ring for you.PROSE - Get a FREE consultation and 15% off custom hair supplements! Go to Prose.com/forever35. Hosted on Acast. See acast.com/privacy for more information.

It has to do with early 1990s-era Drakkar Noir cologne, a 1994 Saturn and the greatest sales lesson ever discovered by yours truly.So if you want to instantly increase your ability to close more sales, listen to this episode of Nemo Radio ASAP! EPISODE LINKSFree Training - The Best Sales Scripts & Strategies: https://linkedinriches.com/sales-scripts-strategies/Free Training - How To Pre-Qualify Prospects + What To Say On Sales Calls: https://linkedinriches.com/pre-qualify-sales-webinar/Online Course - Sales Scripts & Strategies: https://johnnemo.samcart.com/products/sales-scripts--strategies-online-trainingOnline Course - Sales Psychology (Why People Buy): https://johnnemo.samcart.com/products/sales-psychology--secretsWHERE YOU CAN FIND ME:LinkedIn: https://www.linkedin.com/in/hirejohnnemoOnline: https://nemomediagroup.com/ or https://linkedinriches.com/

Breaking Beauty podcast co-hosts Jill Dunn and Carlene Higgins are in the Perfume Room today! These two longtime friends and beauty editors tell the stories behind the breakthrough people, products, and moments shaping beauty history and swatch and spritz everything so you don't have to. Today we discuss the most coveted fragrances in their personal collections, how beauty editors select the fragrances they write about, a wild press trip that included a multi-course Mugler Angel-inspired menu, fragrance in the metaverse, and of course, the trends and fragrances exciting them most right now. Need more of this?! Listen to my episode on Breaking Beauty that airs tomorrow all about my thoughts on the most viral Internet fragrances! FRAGS MENTIONED: Chris Collins Citrus Grandis, Aerin Mediterranean Honeysuckle Mimosa, Chris Collins African Rooibos, Le Labo The Matcha 26, Le Labo The Noir 29, Aspen Apothecary Dusk, Chanel Jersey, Terre D'Hermes, Penhaligon's: Luna, Bluebell, Revenge of Lady Blanche; Liz Taylor White Diamonds, Dior J'Adore, Escentric Molecules Molecule 01, D.S. & Durga I Don't Know What, Gwen Stefani Harajuku Lovers, The Body Shop White Musk, Coty: Exclamation, Vanilla Fields; Drakkar Noir, Old Spice cologne, Body Shop Vanilla Oil, Phlur Missing Person, Hermes Eau de Pamplemousse Rose, Marc Jacobs Splashes, Chanel Gardenia, Prada Infusion D'Iris, Chloe Eau de Fleurs Capucine, JLo Glow, Carolina Herrera Good Girl, Chanel No. 19, Dana Love's Baby Soft, Stella McCartney Stella, Frederic Malle Synthetic Jungle, Baby Phat Goddess, SJP Lovely, Diesel Only the Brave, Emporio Armani Diamonds, ELdO I Am Trash, Henry Rose Windows Down, Chanel Gardenia, Tom Ford Soleil Blanc, Ellis Brooklyn Salt Body Oil, Marc Jacobs: Cucumber, Cranberry Rain; Chloe EDP, Dossier, Better World FOLLOW BREAKING BEAUTY: @breakingbeautypodcast FOLLOW PERFUME ROOM: @perfumeroompod (IG) @emma_vern (TT) 10% OFF LUCKYSCENT ORDERS ($40+): CODE 10PR 10% OFF TWISTED LILY ORDERS: CODE PERFUMEROOM10

Welcome back passengers! Tonight we dive deep… too deep.. Into our bread and butter… we are diving back into unsolved murders. Hold on to your skivvies and make sure you have a drink and a magnifying glass because we are gonna talk about the Setagaya Murders. Bum bum buuuuuuummmmmmmmmm!!!!!!   Typically, New Year's Eve is a happy occasion. It indicates that things are changing and making room for something new. It's a time to rejoice in a brand-new beginning, typically with your family and close friends.   This day, known in Japan as Omisoka, is regarded as one of the most significant ones of the year. There are traditions and conventions connected, which are often observed. In Japan, New Year's is regarded as the most prestigious celebration, unlike in America where it is frequently associated with revelry and midnight kisses.   The holiday season, however, was permanently tarnished by a tragic occurrence that happened around the turn of the century. For almost 20 years, what happened on this night in the Tokyo neighborhood of Setagaya has baffled detectives to no end.   In contrast to other cultures, Japan celebrates a century's conclusion. Japan rang in the new millennium a full year after we did in America with the opening of 2001, while most of us did so with the notorious Y2K fear.   By most accounts, the Miyazawa family was a normal Japanese household.   The father, Mikio Miyazawa, age 44, was employed by the London-based marketing company Interbrand. It is unknown what type of work Mikio performed for the company, but it was a sizable one with locations in more than twenty nations and experience working on significant marketing campaigns for organizations like Microsoft, Nissan, Xerox, and many more. In fact, Interbrand was the organization in charge of branding the phrase "Wi-fi" the year prior, in 1999.   Interbrand coworkers characterized Mikio as "congenial." They said he was "the kind of man that got along with everyone - definitely not the kind to create enemies."   The family's mother and wife, Yasuko Miyazawa, was forty-one years old and similar to her husband. She was a teacher who spent a lot of time with the couple's two children, Rei, 6, and Niina, 8, and was universally regarded as sensitive and gentle.   The daughter, Niina, was in second grade and appeared to be your average young lady: she was lively, she was fun, and she loved ballet and soccer, two activities in which she was actively involved.   Rei, the family's youngest member, had recently been experiencing a problem: His speech handicap had been causing the family quite a bit of worry. It appears that they had begun to look for expert assistance, but it was still quite concerning to them. I  In 1990, Mikio and Yasuki Miyazawa moved into their house in Setagaya. It was a growing neighborhood with over 200 households at the time, and it seemed like a pleasant enough place to raise a family.   The second biggest of Tokyo's twenty-three districts, Setagaya is situated immediately southwest of the central city. Setagaya is a fairly residential-looking neighborhood that sticks out from its hectic, crowded surroundings and is within a short distance from Tokyo Bay.   Even by itself, the Miyazawa family house was intriguing.   The house was a two-story, communal structure. On the exterior, it appeared to be a single house, but in reality, it was more like a duplex. It made it possible for the Miyazawas to be neighbors with Yasuko's family, mostly her mother but also her sister and brother-in-law who were also living with her at the time.   Seven family members may now reside in this joint home, even though there was no interior link between the two homes. You must exit the building and enter through a different entrance to get from one side to the other.   The park directly back the house, however, was the feature that had the greatest impact. Although the park had been present for some time, the city had planned to enlarge it. This indicated that the majority of the Miyazawa's neighbors had been vacating their properties recently to make room for this growth.   The neighborhood, which had formerly been home to more than 200 people, had now been reduced to just four: the Miyazawas, their cousins who lived next door, two other families who resided on their block. Aside from that, the neighborhood was a ghost town.   The skate park directly behind the Miyazawa family house was where the majority of local activity was taking place. The Miyazawa family had some difficulties because this was the busiest area of the rapidly developing park. See, the only thing separating the skate park and the home was a fence.   Mikio had addressed some rowdy and annoying teens at the skate park the week before New Year's Eve for making too much of a ruckus. A witness claimed to have seen him encounter a group of teenage rebels who belonged to the Bosozoku, a form of Japanese motorcycle gang, at about the same time.   The Miyazawas were among the last households to begin making arrangements to move because of the park's growing foot traffic and the city's intentions to expand it further. In only a few months, they would be relocating to another house in the neighborhood, and it was December 2000. Therefore, all they had to do to stop worrying about it was rough out the skate park hooligans for a few months.   Sadly, they would never have the opportunity.   In addition to Mikio's run-ins with hooligans throughout the week leading up to New Year's Eve, the Miyazawa family will also encounter some other peculiar events.   The locals had reportedly begun to see some of the area's animals being physically abused over the summer. There are claims that neighborhood cats, most of which are stray, had been tortured and that rats had been discovered dead. One witness remembered witnessing a nice stray suddenly emerge one day without a tail.    Yasuko informed her father-in-law that a strange automobile had parked in front of their home on Christmas Day, December 25. Despite the fact that there was alternate parking nearby that wouldn't need the person parked to hop over a fence to enter the park, this has occurred more than once.   An eyewitness saw a guy who was thought to be in his forties going near the Miyazawa family home two days later, on the 27th. A apparently benign item that, in hindsight, appears suspicious. The neighboring park assures that people will be in the neighborhood for a number of reasons.   A guy was sighted in the adjacent Seijogakuenmae Station on December 29, just a few days before the start of the new century, not far from where the Miyazawa family was residing. Due to the weather, one eyewitness remembered this man's "skater"-style clothing as being peculiar and believed the man, who was also sporting a rucksack, appeared to be significantly underdressed.   Police suspect a guy fitting this general description bought a sashimi knife from the same retail center on this day, the 29th. It was quite simple to track down because it was the only one bought at this grocery on this particular day.   A man matching that description was sighted on December 30 about a mile from the Miyazawas' home, in the vicinity of Sengawa Station. This unsub, who was described as being between 35 and 40 years old, was moving steadily toward the Setagaya residence of the Miyazawa family.   Unbeknownst to them, the Miyazawa family's final day would be on Saturday, December 30.   They carried on with their usual activities while getting ready for the next holiday. Due to the approaching New Year and the fresh start of a new century, there was a celebratory mood in the air.   The family reportedly went shopping around about 6:00 PM in the early evening. Although we can't be certain if all four of the family members attended, a bystander remembered seeing them in a local mall around that time. This tale has credibility because a neighbor who was driving by their house that evening remembered seeing the family automobile disappearing at about 6:30 PM.   Yasuko contacted her mother who lived next door at approximately 7:00 that evening. The families spoke to one another over the phone frequently since they considered one another to be neighbors. The topic of the discussion was probably something unimportant, most likely Yasuko asking her mother if she wanted to see her granddaughter.   Niina walking next door to watch a taped TV show till 9:30 PM or so confirms this. Everything for the Miyazawa family had been quite routine up until this point in the night.   An accessible email that was viewed at roughly 10:38 that evening is the final activity we have of the Miyazawa family. It was Mikio reading a business email that was password-protected, indicating that he was most likely the one who opened it.   At least one member of the Miyazawa family was last known to be alive at this time. And their residence, which was often peaceful and calm, was about to turn into a house of horrors.   A witness heard what sounded like an altercation inside the Miyazawa house that evening at approximately ten o'clock while walking along the park trail behind the home. They couldn't recall any especially ear-shattering shouts or loud physical noises, but they claimed it just sounded like a couple arguing.   A neighbor of Yasuko's family would notice a loud pounding sound coming from the Miyazawa side of the building around an hour and a half later. They didn't know the precise time, but they were able to estimate it later using the current television programming schedule.   This happened at the same time that a witness or maybe a neighbor reported seeing a guy rushing along the sidewalk near to the family's home.   These were the only three indications that something wasn't right in Setagaya that evening. It would take hours before anybody realized how terrifying the Miyazawa house had become.   Three passengers were being picked up by a taxi driver not far from the Miyazawa residence. All three of these passengers, who will stay unnamed for this story due to the cab driver's oversight, were middle-aged males who kept to themselves the entire time.   It was far after midnight when the three guys were being dropped off at a neighboring station, something the taxi driver remembered as being quite unusual for the time.   A bloodstain from one of the individuals who appeared to have a wound was seen on the backseat of the taxi.   Yasuko's mother attempted to contact her daughter's family the next morning on New Year's Eve to arrange preparations for later that day. Unexpectedly, her call wouldn't even connect, much less ring.   She was unaware that someone had cut and purposely unplugged the phone lines in the Miyazawa family home hours earlier.   She went outside and made her way to the house where her daughter, son-in-law, and two grandchildren lived. When the doorbell went unanswered, she used her set of keys to allow herself in, according to the police report she would later submit.   There was no sound to be heard within the home itself. The moment Yasuko's mother walked inside the house, she would have realized something was wrong. As she entered the family's home, she quickly realized the reality as she came face to face with Mikio Miyazawa's body at the foot of the stairs.   The family's father, who was 44 years old, was found dead at the bottom of the stairway leading to the second storey after having been stabbed several times.   Yasuko's mother remembers trying to find out what had happened to the rest of her family by walking upstairs to the second storey. The remains of her granddaughter Niina and daughter Yasuko, who had both been viciously stabbed hundreds of times, would be waiting for her at the top of the stairs. Their suffering far surpassed that of Mikio's body.   Yasuko's mother recalls placing her hands on the corpses of her daughter and granddaughter in an effort to check for signs of life, either out of grief or even hope.   Her granddaughter Niina, with whom she had just finished watching a television show, and Yasuko, her daughter, with whom she had reared and been close for more than forty years. They were both now dead and icy, loved ones turned into corpses by an unidentified murderer.   The last catastrophe would be revealed to Yasuko's mother in an adjacent bedroom: six-year-old Rei, who had been struggling with a speech impediment in an effort to satisfy his parents, was still in bed. He had been strangled to death, which led detectives to believe that he was the family's first victim.   It goes without saying that Yasuko's mother—this devastated grandmother—would call the police. However, what she had witnessed was irreversible, and nothing could replace the family she had just lost.   When the event occurred, Tokyo Police were as appalled by the crime scene as Yasuko's mother had been. They were aware that this case would shock everyone in the neighborhood: witnessing a whole family being murdered by an unidentified intruder in the middle of the night is arguably the most terrifying scenario one could conceive.   Police started investigating the incident and piecing it together at the spot. Yasuko's mother, sister, and brother-in-law, who were all there when the crime took place next door, remembered anything peculiar or unusual that may have transpired that evening.   The only thing that sprang to mind for them was the loud thud that had happened at about 11:30 that evening; the timing was supported by a TV schedule that showed the thud happened during the broadcast of a certain program. When Mikio, the father, approached the alleged murderer, the police instantly assumed that the thud may have happened then. They assumed that he had fought with the person who had attacked Yasuko's family based on the injuries on his body, and that the loud thud Yasuko's family had heard could have been him being thrown to the bottom of the steps.   Mikio had been stabbed several times, with the majority of the wounds being to his neck. They would deduce that the sashimi knife that had been abandoned in the family's kitchen was what had caused the stab wounds. But the knife had somehow broken when Mikio was being attacked.   Investigators instantly hypothesized that the broken knife had been merely one of two murder weapons based on the evidence they had at the site. The killer also used a knife he had discovered in Mikio and Yasuko's very own kitchen to murder the two ladies upstairs.   The fact that Mikio's body was still in his day clothes—business-casual dress that he would typically wear out and about—was what was most peculiar about its discovery.    As for the bodies of Yasuko and Niina, however, the home was constructed so that a ladder leading to a third-story loft was located at the top of the stairs going to the second level. Many people have speculated that because the third-story loft contained a bed and a TV, Yasuko and Niina were both there when the killings took place, maybe in bed or watching TV.   Both Yasuko and Niina's bodies, which had been repeatedly stabbed, were discovered at the bottom of the ladder leading to the third-floor loft. Investigators determined that both individuals had been stabbed well past the point of death because of the excessive number of knife wounds. This gave rise to several speculations suggesting that the murderer had some type of hatred for women or at the very least had some anger toward them. Sadly, this is not an attitude that is particularly unusual in these homicides, but it would become important in the investigation that followed.   Rei, the family's son, was discovered murdered in bed. When police started to piece together the facts, they realized that Rei was the first member of the family to be slain, which explained why he had avoided a horrific stabbing death like the rest of his family.    About six hours after the deaths were found that afternoon, a young guy was brought into a hospital in Tobu Nikko Station. The Miyazawa family's neighborhood in Tokyo, Setagaya, is a few hours north of Tobu Nikko Station, and there are several connecting trains that run between the two.   This individual, whose age was given as thirty, was accepted without disclosing his identity or the nature of his injuries. A hand wound that was allegedly serious enough to have revealed bone was the actual damage. Staff members at the scene were astonished by how casually the man was treating the wound and thought him to be fairly suspect, which is why they had a good memory of the specifics.   This man was dressed in a black down jacket and pants and appeared to be well into his forties. The medical personnel had no idea what had transpired just hours earlier, yet the man was treated and then released despite not providing any information about himself.   The crime scene was completely covered with evidence of what had occurred in the early morning hours of December 31st, much to the investigator's amazement.   First and foremost, by locating the murder weapons right away, the authorities had found the key to any inquiry. Both knives were quickly discovered there, still covered in blood.   In contrast to many police investigations that falter in the absence of a murder weapon, the police in this case found two within the first few minutes of their inquiry.   But in addition to the blades, the Miyazawa family house turned out to be a gold mine of information that helped the police put together what had transpired that night.   The family's first aid box had been unlocked, perhaps by Yasuko and Niina, at some point during the actual assault, they would discover. Blood from eight-year-old Niina was discovered on several of the first aid kit's bandages.   Disgustingly, authorities would uncover unflushed excrement in the upper bathroom. This was reportedly left by the murderer, who was either too proud of his ability to get away with it or too ignorant of DNA testing. Investigators would find traces of a meal with string beans and sesame spinach that had presumably been consumed somewhere else.   Since then, internet websleuths have described this dish as relatively "boring," similar to what a mother might serve her kid. This has become a popular hypothesis about a man who continued to live at home with his mother.   The footprints of the presumed intruder were all over the home, strewn around in blood and mud. It will soon be generally recognized that these shoe patterns belonged to a particular kind of Slazenger footwear. At this time, Slazenger shoes were accessible all throughout Japan, but the shoeprint they left behind was for a very particular size that wasn't available there. Many ideas concerning the killer's ethnicity were sparked by the fact that this shoe size was a Korean shoe size and the shoe would have most likely only been found for sale in South Korea.   In addition to the bandages from the first aid kit used by Niina; towels and women's sanitary towels were also discovered with unidentified amounts of blood on them. This was a surprising discovery for the police since it supported the theory that Mikio had engaged the attacker on the steps, presumably injuring him and forcing him to seek immediate medical assistance.   Police would have to send the blood samples for testing, which is a process that will take some time to complete. They would have to continue looking for evidence until then, which the murderer had purposefully left behind.   The most shocking evidence found throughout the inquiry was a range of apparel and belongings that the killer (or killers) brought before leaving them behind. It appeared as though the murderer intentionally left the garments behind or at the very least paid no attention to doing so.   The attire that the murderer had most likely worn to the crime site was described as being suitable for a skater. The goods included a black AirTech jacket, a white and purple long sleeve shirt (which has alternately been referred to as a hoodie and a long sleeve shirt), black Edwin gloves, a multicolored scarf with no tags that is almost unrecognizable, and a black handkerchief.   The blood stains found on the long-sleeved shirt made it the most notable of the pieces. Even if it wasn't the proper size, the clothes weren't in the same style as anything the family members would have worn. Only Marufuru stores, a retail chain that also offered the style of gloves and hat discovered at the crime site, carried the white shirt with purple sleeves.   The handkerchief was also notable in its own right because the police learned that it had been ironed before use. Simply said, very few individuals would go to the trouble of ironing a handkerchief, thus this was strange. Internet theorists have said that the handkerchief being ironed is another more indication that the suspected killer lived at home with a mother figure because the thought of a young skater using a handkerchief is already a peculiar one.   Forensic experts would find traces of the male perfume Drakkar Noir on the handkerchief.    It was discovered that every piece of clothing had been cleaned in hard water, which meant that the water used to clean the clothes was rich in minerals and vitamins that aren't often present in water that naturally occurs. Japan has traditionally employed a soft water system, which simply means that the water is water with some sodium added. Given that Korea has a hard water system and that the clothing were cleaned the manner they were discovered, this would be a point in the killer's favor if they were identified as having Korean ancestry.   However, in addition to the clothing, the murderer also left behind further evidence in the form of personal possessions. A "hip-bag," which resembled a cross between a messenger bag, a tiny backpack, and a fanny pack, was the first and prominent of these accessories.    Although the hip-bag itself had a relatively innocent appearance, it did include certain bits of information that would help detectives approach the case in the future. A piece of grip tape used on skateboards served as the first piece of proof. The second was the Drakkar Noir fragrance traces that were discovered on the handkerchief. The most surprising discovery was sand, which was the final item removed from the hip-bag.   The location of the sand, which pointed to the Southwestern United States, allowed the identification of the material contained in that hip-bag. Specifically, the vicinity of Edwards Air Force Base, a military facility located roughly 100 miles north of Los Angeles.   This shocking piece of information, which may connect the murderer to a military facility hundreds of miles away, has probably thrown the entire investigation into a loop. Many people have interpreted this as evidence that the murderer was maybe an airman stationed in Tokyo or a certain category of contractor who conducted business internationally. Some have even attempted to connect this information to the handkerchief that has been ironed as a symbol of military bearing as the military does encourage ironing as a component of its standard behavior.   Despite the fact that there was a ton of evidence on the scene, the investigation was far from over. There would still be new information to emerge in the investigation, and there was still no strong indication of a suspect.   Days started to transform into weeks, which eventually changed into months. Police made a plea for anyone with information about the apparel while presenting the public with the evidence they had. Several pieces of clothes could be traced back to their owners, but the majority of the goods the murderer left behind at the Miyazawa home were ordinary. It was impossible to find every owner of the apparel because thousands of each had been sold in Japan in the few months before the deaths.   About a hundred days after the killings, at the beginning of April, authorities made an intriguing discovery. They had found a little Buddhist statue that was first brought in as evidence not more than a mile from the Miyazawa residence.   Jizo is a Buddhist god who guards children in the afterlife, and that statue was made in his likeness. Jizo, an embodiment of Buddhism in Eastern Asia, is thought to guard children who pass away before their parents in the afterlife from demons as they ascend to the spirit realm.   When the police first brought this in as evidence, they reasoned that possibly the murderer had left it behind as a token of regret or guilt.   Regardless of who put it there, it serves as a sorrowful reminder of the atrocities against the Miyazawas in the Setagaya province adjacent to the family home.   Police had outlined a sequence of events that led to the family's murder as they continued to piece together the evidence and test the forensics against their expanding database, which at the time of the family's murder in 2000 was still fairly recent in the world of crime-fighting.   The killer most likely entered the house through the second-story bathroom window, which was just above a fence separating the home from the park and was accessible from the rear of the house. This would be a somewhat physically demanding act that would need for the murderer to have at least a modicum of upper body strength.   They believed that after entering the house, the attacker had targeted the unfortunate six-year-old Rei first, going into his bedroom and strangling him while he was still asleep.   From there, the course of events slightly fragments, with investigators having doubts regarding the killer's future moves. They believe that as Mikio was working on his computer in the study below, the disturbance coming from above diverted his attention, and when he walked up the stairs, he came across the murderer. A fight broke out there, and Mikio fell to the ground, where he would be discovered hours later.   According to this sequence of events, Yasuko and Niina were the next to be approached by the assailant, who either assaulted them upstairs in the third-floor loft or at the bottom of the ladder leading to it. Niina used the first aid kit at some point to try to bind some of her own wounds, thus it's likely that the murderer attacked them with his broken sashimi knife, realized it couldn't be used, and fled to the kitchen to grab another. Yasuko and Niina attempted to obtain her medical treatment during this lull since they thought the murderer had abandoned them forever.   If this scenario is correct, the killer then returned with his new weapon to kill the family off, murdering the two at the foot of the ladder leading up to the loft.   Possibly around this point, Mikio heard a scuffle upstairs and hurried up there in an effort to distract the murderer from his family, not realizing that Rei had already been killed. The murderer managed to inflict Mikio's fatal wounds there, but not before breaking his murder weapon and becoming hurt himself. Their fight had brought them to the stairs.   The murderer, who was now not far from the family's kitchen, went inside to get his new murder weapon, then returned upstairs to kill Yasuko and Niina, who were attempting to treat Niina's wound with bandages from the first aid kit. Perhaps they were moving toward the loft in an effort to elude the murderer, expecting that the ladder would be lowered behind them.   However, police would find out during their reenactment of the incident that the murderer had remained after killing the four members of the family. He would eventually spend hours inside the house of the family.   Police concluded based on evidence that the murderer chose to remain in the home as an uninvited house guest rather than leave right after killing the Miyazawa family. He hadn't even bothered to cover the remains of the four family members when he made the decision to settle down for the evening.   One of the more peculiar events in the narrative itself was that the unsub had allegedly taken a nap on the family's sofa in the living room. Typically, suspects leave the scene as quickly as they can since each minute increases the likelihood that they will be found, but this killer seems to have relished the closeness of spending the night at his victim's house.   The murderer of the Miyazawa family treated himself to ice cream from the refrigerator. Police would soon find four ice cream wrappers with the alleged killer's prints on them; they were also known as popsicle wrappers in certain accounts. These fingerprints matched those that were left all around the house by people who weren't members of the family in attendance.   The family's PC was in the downstairs study and this unsub had also utilized it. A few hours or so after the family was probably killed, on December 31st, around 1:18 AM, they noticed that the computer had been accessed. The unsub had gone to the Shiki Theater Company's website, which Mikio had already bookmarked. Because theater was a love of Mikio's, you see, so one has to question if this was some kind of twisted joke on the part of the perpetrator, or if the family was indeed slain hours after many people thought they were. The odds are still very much in favor of the murderer doing it since someone had visited that website at 1:18 in the morning and attempted to purchase performance tickets online.   Hours later, at around 10:05 in the morning, the murderer reportedly allegedly signed on to examine the websites of Mikio's business, Interbrand, and the university Yasuko taught at. Interestingly, the murderer only visited websites that the family had bookmarked, maybe in an effort to enjoy the closeness of their home.   The murderer had only used the computer for 10 minutes total before unplugging it from the wall.   The killer had amassed the family's credit and ID cards throughout the course of the evening; they were all discovered organized in the family's living room, next to the sofa where the unsub had slept. Many people have argued that this was an extremely peculiar attempt by the killer—or killers—to try and guess the PIN numbers required to use the cards. He left them behind since he knew he wouldn't try to keep them guessing and risk being found out.   A strange assortment of the family's possessions and trash were also gathered by the unsub before departing and dumped in the bathtub for some reason. The majority of these items were trash, like ice cream wrappers or torn-up flyers, but they also included some of Mikio's work receipts, Yasuko's school records, and even feminine hygiene products stained with the murderer's blood. Many have speculated as to why the murderer would leave such a strange collection of trash in the bathtub, but have come to the conclusion that he may have intended to use them for anything and simply forgot. Unaware that he had left boats worth of evidence behind, he may have intended to let the goods soak before being discovered.   Police believed the murderer had stolen the family's money, around 125k yen, after he had been sleeping at the Miyazawa house for a few hours. That basically translates to more than a grand in American dollars. However, the fact that the killer had been eating ice cream and using the computer in the family's study where extra money was quickly discovered led the detectives to believe that this wasn't a straightforward heist.   Additionally, if this had been a robbery, the murderer may have taken some expensive items, but it appeared that the family's possessions had all been left behind. The only thing that was thought to be missing was a worn-out jacket that had belonged to Mikio.   The entrance door was locked when Yasuko's mother entered the crime scene, according to her memory. Police speculated that the killer may have returned through the second-story bathroom window he had used to enter because of this. The door was shut when Yasuko's mother arrived, but over time she has grown unsure of this fact, and it has never been made crystal clear how the murderer fled the scene of these horrible acts.   By 2006, forensic science had advanced to the point that sleuths could resurrect this monster. Or, at the very least, extract him from the Setagaya neighborhood's mid-2000s zeitgeist and turn him back into a mortal man with flesh and bone.   DNA genome testing was used to determine the precise characteristics of the murderer using the blood found on towels and feminine items at the site. The results were shocking.   Police found that the Miyazawa family's suspected murderer was of mixed ethnicity and probably not a citizen of Japan. One of the unsub's parents was of Southern European ancestry, while the other belonged to two distinct cultures, one of which was Eastern Asian.   According to a police source who spoke to the publication "Japan Today," the murderer was a guy of Asian descent.  “His DNA carried a marker from his father that occurs in one out of every 13 Japanese; one out of about 10 Chinese, and one in every 5 or so Koreans. Based on mitochondrial DNA, his mother had an ancestor originating from the southern Mediterranean area, probably around the Adriatic.”   But in addition to the probable DNA, we also have some additional information about the murderer. By comparing the clothing he left at the crime site, they were able to determine that he is approximately 175 cm tall, or five feet seven inches. His shoes were a Korean size, measuring little about eleven inches, or 27.5 cm, in length. He had blood type A since the blood found at the site did not match that of the victims.   Bizarre locations used to shoot in movies https://www.thetravel.com/25-of-the-most-bizarre-locations-ever-used-to-shoot-a-movie/

Yes you read that correctly. In today's ep, I am joined by perfumer, olfactive artist, and DJ, Maxwell Williams. We discuss what anal actually smells like (spoiler alert: he created a perfume inspired by the deed), why anal is (in fact) for everyone, the appeal of animalic scents, Fragrantica trolls and we why secretly love them, and how human sex pheromones are not a thing… yet. Maxwell discusses how getting in touch with himself helped him cultivate his sense of smell and vice versa, and how for him, fragrance is an expression of extroversion. I also take the audience on a rollercoaster of my tumultuous relationship with Abercrombie & Fitch. Basically, we cum full circle. FRAGS MENTIONED: Abercrombie & Fitch Ellwood White Bergamot, Nemat Egyptian Musk, Kuumba Made Egyptian Musk, Nemat Amber, UFO Anal, ELdO Secretions Magnifiques, Agent Provocateur, Paris Hilton Eau de Parfum, Pure Instincts Oil, UFO Parfums Literalvolcano, Coty Aspen, Ralp Lauren Polo Sport, Drakkar Noir, Hugo Boss UFO PARFUMS: Follow & Shop FOLLOW PERFUME ROOM MY HOLIDAY GIFT GUIDE SHOP MY SHELF BOOK A FRAGRANCE CONSULT W/ ME! FOLLOW PERFUME ROOM: @perfumeroompod FOLLOW EMMA: @emmvern IG // @emma_vern TT

This week's episode is a special occasion, you filthy animals. So trim your nose hair, shave your shoulders, and slather on some Drakkar Noir to cover up your disgusting musk. Trixie and Katya explore such weighty topics as traveling toddlers, murderous maladies, and automotive intercourse. So dim the lamps, light the jack-o-lantern, and settle in to experience the most terrifying tales of mung-diving you'll hear this entire Halloween season. Follow Trixie: @TrixieMattel Follow Katya: @Katya_Zamo To listen to our podcast on YouTube: http://bit.ly/TrixieKatyaYT Don't forget to subscribe to the podcast for free wherever you're listening or by using this link: http://bit.ly/baldandthebeautifulpodcast If you want to support the show, and get all the episodes ad-free go to https://thebaldandthebeautiful.supercast.com/ If you like the show, telling a friend about it would be helpful! You can text, email, Tweet, or send this link to a friend: http://bit.ly/baldandthebeautifulpodcast To check out the Trixie and Katya Live Tour, go to: https://trixieandkatya.com Learn more about your ad choices. Visit megaphone.fm/adchoices

The annual Free For Fall has returned. Rules fly out the window, and any and all topics of conversation are up for discussion. This year's treat includes: movie character psyche analysis fatigue, Polo Sport, Autumn's boozing, Cool Water, Greg's wide open future, and Drakkar Noir.

In this episode we're thrilled to welcome our first guest & who better than self-confessed fragrance obsessive, Alice du Parcq. From the age of 17, Alice worked in the beauty departments of Tatler, the Telegraph, The Times and Glamour magazine and was Beauty Director at Conde Nast Brides and Easy Living for over 10 years. Since going freelance she's written for British Vogue, Red, Stella, Stylist, Sunday Times Style (the list goes on), is now Contributing Editor at Glamour & writes for Space NK's magazine. Phew!During lockdown Alice began regular Instagram lives called Desert Island Spritz, which Suzy was honoured to be a guest on, but now we're turning the tables to find out which fragrances have been her favourites for summer, lifelong loves, lockdown saviours and daily go-to's…During our chat, these are the fragrances we mentioned:@ukgap Gap Heaven @guylarochefragrances Drakkar Noir@helmutlang Helmut Lang Eau de Parfum@millerharris L'Air de Rien@calvinklein Obsession@creedboutique Creed Angelique Encens@guerlain Mitsouko@jeanpaulgaultier Le Male@bentleymotors Bentley MomentumN.C.P Olfactive 704 Incense and Musk@cliniqueuk Aromatics Elixirs@jomalonelondon Basil & Neroli@diptyque L'Ombre Dans L'Eau@chanelofficial Le Lion@nivea_uk Nivea Sun (use Alice's code to get 20% off! ALICE20)

Jena's friend Jake Spitz, New York City staple and Bravolebrity joins her to discuss Drakkar Noir, camp, gated communities, cul de sacs, cruises, Uggs, chain restaurants, malls, shame on you, the fat free craze and more. Basically, this episode is classy with a K.     Produced by Dear Media 

Show: Scored-Love KillsEpisode: Afternoon Delight S1 E5Trish and Dan Willoughby are the seemingly perfect couple on the rise financially. They have three beautiful children, live in sunny Arizona and all seems bright in their future. When a family vacation in Mexico turns deadly, shocking secrets that weren't so secret come out. Check out our website: https://www.buzzsprout.com/837988Linktree: https://linktr.ee/itsalwaysthehusbandpodcastLike our Facebook page and join our group!!Instagram: @itsalwaysthehusbandpodcastTwitter: @alwaysthehubsEtsy Shop: https://www.etsy.com/shop/ItsAlwaysTheHusband?ref=simple-shop-header-name&listing_id=776055218Theme song by Jamie "I'm Gonna Kill You, Bitch" Nelson Support the show (https://www.patreon.com/join/itsalwaysthehusband?)

Bryan's son has hit the terrible two's and so has this podcast! Drakkar Noir is needed for future episodes and experiments and Frankie B is back with advice? You make the call. Either way our favorite over 50m expert is back with more malarky. LINKS:Watch this episode on YoutubeSubscribe to The Commercial Break Podcast Youtube ChannelJoin The Comedy Podcasts Club on ClubHouseNew Episodes on Tuesdays and now Fridays everywhere!Text or leave us a message: +1 (470) 584.8449FOLLOW US:Instagram: @thecommercialbreak @bryangcomedy  @tcbkrissyClubHouse: @bryangreen @tcbkrissyClubHouse: The Commercial Break Club on Clubhouse! (home of live recordings)Twitter: tcbbryanFacebook: The Commercial Break PodcastYouTube: Youtube.com/TheCommercialBreakEmail: info@tcbpodcast.comA Chartable Top 100 Comedy Podcast#1 Trending Comedy Podcast Worldwide! (Chartable)#1 Trending Comedy Podcast U.S.(Chartable)An Apple Top 100 Comedy Podcast Top 1% Downloaded Podcasts, Worldwide (ListenNotes)A Hot 50 Podcast (Podcast Magazine)

Früher war mehr Lametta und auch viel mehr Duft in den Parfumflaschen. Ob Vintage-Versionen von Davidoff, Drakkar Noir oder anderen Powerhouses aus den 80ern - oder die unsägliche Diskussionen um Aventus Batches: Wieso gibts überhaupt so viele verschiedene Batches und WARUM gibt man locker 400 Euro mehr für einen richtig guten Jahrgang aus? - Das und die Frage, was überhaupt Fischstäbchen aus Buxtehude-Kreppelbach damit zu tun haben erfahrt ihr hier bei euren Dufthalunken. Instagram - https://www.instagram.com/dieduftrebellen Facebook - https://www.facebook.de/duftrebellen Twitter - https://twitter.com/duftrebellen Podcast.de - https://www.podcast.de/podcast/751741/ Spotify - https://open.spotify.com/show/3OeXNCi1Y4tOWowTMizATo E-Mail - duftrebellenpodcast@web.de Schöne Überraschungspakete und eine kleine Hilfe für unseren Podcast gibt es hier: Steady - https://steadyhq.com/de/duftrebellen

Ellie and Casey talk bogs, Drakkar Noir, and the different Papadopoulos'. 

Trixie & Katya are joined this week by the runner-up in the twelfth season of RuPaul's Drag Race, the Gigi Goode! The convo runs the gamut from Australian accents to hot Scooby-Doo characters to wig confidence to the olfactory evils of Drakkar Noir. Follow Gigi: @TheGigiGoode Follow Trixie: @TrixieMattel Follow Katya: @Katya_Zamo To listen to our podcast on YouTube: http://bit.ly/TBATBYT Learn more about your ad choices. Visit megaphone.fm/adchoices

Jena's friend Jake Spitz, New York City staple and Bravolebrity joins her to discuss Drakkar Noir, camp, gated communities, cul de sacs, cruises, Uggs, chain restaurants, malls, shame on you, the fat free craze and more. Basically, this episode is classy with a K.  Are you enjoying Social Studies with Jena Kingsley? Follow Jena Kingsley on instagram @jenakingsley. Also please feel free to spread the word, subscribe on your favorite podcast platform and we would love you to give it a 5 star rating and review on Apple Podcast! Questions for Jena? you can email her at darcydates@gmail.com or visit her website http://www.jenakingsley.com Thanks for listening!

On this episode, Drew takes the reins on this week's list and shows us his classic rock side, Alex finds out Duke Ellington wrote a song about him and we discuss whats wrong with EDM. List 5: 1. Never Been Any Reason by Head East 2. UMMON by SLIFT 3. Not In Love by Crystal Castles featuring Robert Smith 4. Part III by Crumb 5. Bow Down and Die by The Almighty Defenders 6. China by BRONCHO 7. Lost You by Zeds Dead featuring Twin Shadow & D'Angelo Lacy 8. Drakkar Noir by Phoenix 9. Take the "A" Train by Duke Ellington and his Famous Orchestra 10. We Lost The Sea by A Gallant Gentlemen

This week Katie and Laura are thrilled to welcome special guest, comedian Leah Bonnema to talk church camp! If you were waiting for the episode where we talked Slaughter, Meat Loaf, and Drakkar Noir, this is it. In between the wholesome prayers and friendships sure to last a lifetime (at least until the end of the week) there were crushes, cabins and even some kisses. We're also thrilled to report that our flirting skills have improved at least a little bit since the 90's. Give us a listen and if you enjoy the episode, rate and review the podcast, and consider subscribing and sharing! Music: Donaher Follow Leah: IG: @Leahbonnema Twitter: @leahbonnema Watch Leah's set on Stephen Colbert

Mixed Bag Of Nuts Time! It’s about time we get to more of YOUR stories!!! Get ready to hear about how semen caused an allergic reaction for one chic, why socks help you orgasm, Gina’s Vegas adventures, turtle sex, the Mothman erotic novel, why cinnamon rolls are dangerous for your anus, of course more poo stories and hear about “Stinky” the dolphin! We promise you a good laugh!

Ever wish you could jump on a sumo wrestler? Ever feel like your head is shaped like a melon? Ever pray your kids don't become performance artists? This episode can help - maybe.

Episode 9 - 6oz of Drakkar Noir by The Ohio Beer Review Team

Joe Snedeker sits down with former Newswatch 16 reporter and anchor, Norm Jones. Joe and Norm talk about his days at WNEP, kids and of course - Drakkar Noir ?!?

Joe Snedeker sits down with former Newswatch 16 reporter and anchor, Norm Jones. Joe and Norm talk about his days at WNEP, kids and of course - Drakkar Noir ?!?

The new blink-182 record is getting favorable reveiws, but what do the guys thing? They also check out The Tidal Babes, Black Puma, Fidlar, Charger, Russian Girlfriends, The Revolts, Decent Criminal and the terrible new TOOL record. AlsoCheck out our Spotify playlist here!BEER!We try a tasty West Coast style IPA from Fall Brewing Company from San Diego! And you know what the name of the beer is? Freaking Let's Go! IPA! Somebody owes us some cash, or maybe some free beer? Hit us up!LET'S GO!Be apart of our Let's Go! Podcast crew! Become a member of our patreon.com/letsgopodcastFollow us on Twitter @letsgopodcastLook at us on Instagram: @letsgopodcastBe our friend on Facebook.com/letsgocastwww.letsgopodcast.comPlease email us with ideas, thoughts and super nice things to say letsgocast@gmail.comLEAVE US A REVIEW ON ITUNES click here!SUBSCRIBE TO OUR YOUTUBE

Drakkar Noir (1982) + David Van Taylor's Dream Deceivers: The Story Behind James Vance vs. Judas Priest (1992)

Our most frequent guest, Minh, returns to the Warped crew just in time to plan a slumber party. Meanwhile, we're watching an explicit metaphor for the Vietnam War in the brief periods where Shawn isn't ranting against the inherent unfairness of America's Got Talent. The tension is 58% harder than a diamond as we discuss the musician Moby, the movie Heat, and the cologne Drakkar Noir. Matt gives us some important perspective on the next 13 years of Warped, and then we talk about our favorite smells. Truly, everything you've come to expect from Warped... After Dark! See acast.com/privacy for privacy and opt-out information.

Strategy is the identification of context. In this episode I talk with Mark Kingsley. Having directed at companies such as Collins, Landor and Ogilvy he has a lot of experience. He also did a lot of design work for Blue Note, Atlantic and the Guggenheim museum. We talk about the history and future of strategy and design, Mark’s strategic work for Ogilvy and some really fun anecdotes. You can find the full transcript below the sponsored message on this page. We talk about: The repositioning of Ogilvy Collins, the agency “Strategy is the identification of context” How strategy and design are influencing each other The difference between big agencies and small shops Mark’s encounter with Massimo Vignelli How you can design ‘the situation’ Why you shouldn’t present a logo on a tote bag. The Pepe the frog meme The target brand The brand new conference You can connect with Mark on his Linkedin or website. I'd appreciate it if you could rate the podcast on itunes. It will help me in reaching other designers. Get the latest podcast in your inbox. Sign up with your email address to receive news and updates. You also get a free Brand workshop template. First Name Last Name Email Address Sign Up We respect your privacy. Thank you! This episode is supported by HolaBrief Very few projects end up with exceptional results. HolaBrief makes it easy to ask all the right questions and nail your design brief every time. Built by designers, for designers. Get early access to Holabrief by subscribing now. Check out Holabrief Here’s the full transcript And a lot of it, you know a lot of it could. Possibly be I mean, I'm just kind of floating this as an idea just came to me that maybe the reason why a lot of strategy kind of sounds the same. It's because people don't really know what strategy is. Hey there first off. I want to take a minute to thank all our brief. They've been sponsoring this podcast season and there are a bunch of amazing people hold a brief is an online environment that allows you to create better design briefs there set of easy and accessible through. Exercises allows me and the client to get on the same page very quickly. I suggest you go take a look yourself at all a brief.com. In this episode I talk with markings Lee Mark is a well experienced guy. He has worked for Collins Lander and he has done some amazing work such as the repositioning of Ogilvy design work for Guggenheim blue note and a lot more Mark has some amazing stories to tell about his. Variances in the graphic and strategy world. We talk about brand strategy logo design and a lot more so buckle up and let's start branding. Hi, my name is Mark Kingsley. I'm a creative director designer strategist educator writer and speaker based in New York City. All right, cool. Could you tell us a bit about your history? Where have you worked? And what's your experience? I was trained as a graphic designer and I really wanted to become a record cover designer. That's all I wanted to do was just to record covers and when I got out of school, I found myself my first one of my first jobs was in the Cosmetic industry where I was designing packaging for fragrances for Giorgio Armani Ralph, Lauren cash Darrell and Lisa East and Drakkar Noir, and I eventually worked. Way in just through meeting people and you know just being present and always showing up. I eventually worked my way into doing music packaging. I started off at a doing work. It was basically freelance. So I started off doing work for a small Irish music label called Green Linnets, which has since been bought and sold a couple times by different couple companies and from there I built a portfolio and was able to. Get some of the largest clients in the music industry. So I did a lot of work for Blue Note. Let it work for Verve some work for Sony a lot of work for Atlantic BMG RCA and it was about 18 years of fun. I absolutely adored it. I just love to I just love doing it and then the MP3 came around the financial crisis, September 11th in New York City and with after all these crises. Things needed to change I wasn't making as much money and music. In fact, there's one designer Mike Mills who says it music pack designing music packaging is the quickest way to the Poorhouse these apps and he's absolutely absolutely correct. So so I found myself working at a division of old will be called Big which stood for the brand Innovation group and there I was designing everything from a logo for double-click before they were purchased by. Google to various packaging and in-store exercises for Walmart for a large pitch that we did to retail spaces for Sprint and various other small projects here and there along the law along the way and after that ended up designing and illustrating. Advertising for about a year and a half for publicist hell writing for HP, which was probably a year and a half of like the greatest experience of my life because everything that ever came through my mind's was printed its time. It was outrageous. I mean, I made a good amount of money, but more more more importantly it was that it was an exercise in just allowing my. Subconscious kind of like work and it was it was quite a revealing experience for me. So after that ended up in San Francisco working at land or as a creative director and the city account and basically I was the global creative lead for all work that land or did in the world for City and Citibank. And that was an amazing position because it was granted. It was a lot of travel and me showing up in suits and talking to large groups of people about typography, but it was also a great education and brand and branding and what that is and it helped me see how design is merely like an execution of a larger brand. And probably one of the greatest compliments that I've ever received from anyone was from the global head of branding at city and she wrote a note to my colleague. And she said I'm really happy to see how Mark has become as gone from becoming a designer to a brander. And if you understand what that means, it's just that. She saw that I had the I then was able to develop the ability to kind of see beyond just shapes and forms and to see how things work with people how things work within contexts and and how things work on a larger business level 2. So after that. Ended up in Paris for a little bits and then back in New York where I had my own branding small boutique studio called malcontents and there I did some lot of projects were Arts organizations and after that ended up a Collins for a couple of years where I was executive strategy director and there I did add some really wonderful experiences their eye. It was able to basically I worked on the global repositioning for Ogilvy, which was just announced like maybe six months ago. And that was that was kind of incredible that mean to sit at the at the table with the CEO of a large global. Advertising agency and have a conversation about where they needed to go. So that was like one of those little proud moments of my life. And so I had a couple other projects. There was one in Japan where we were taking a probably one of the largest companies in Japan and helping reposition one of their divisions. And one other project was for equinox the gym which some people in United States know probably better than people in Europe Equinox is a like a high-end health. And they're owned by a large real estate company called related and they are going into the luxury hotel space and the project was to try and find a way to position logically a health club in luxury hotels and how to find a connect and build that connective tissue. So so those were great projects and then after that I'm back in malcontent for the time being. All right. That's that's quite a journey you had there and that's the short version the project at for like repositioning Ogilvy. Could you I don't know how much you can tell us about it. But could you like elaborate a bit on that experience? Because I think it's like something so hugely difficult just because of the the whole history behind Ogilvy. Could you like give some insight into that project? Yeah. Basically, well, let's talk about foundation and then build from the found on the foundation from there. So basically what is strategy right and there are many different definitions. It's like there is no one definition for design which is really kind of suspicious for designers to go through the world and say, you know not be able to tell people what design is it's the same thing through for strategy. There are different ways of approaching strategy. The definition that I tend to work with and granted it's not a perfect definition. The one I tend to work with is that strategy is both the identification of context and then the proposal for a different and new kind of context. So to identify a context you need various analytical devices and filters and these are all basically metaphors. What metaphors are you going to use to see the world? And for Ogilvy and basically actually, let me step back for me. I the process that I use I was trained in college and semiotic believe it or not. And this is like towards the beginning of semiotic such as a college level course in United States. This was the mid 80s and I studied under a man named. Dr. Michiel Nadine who was from Brown University. And so from semiotic sigh worked my way through various conversations and various courses that I would take and to post structuralist Theory structuralism. No ticks and then into a little bit of phenomenology. So this is a this is a different kind of input than what most people who work as strategists have most people tend to work with the classic Harvard Business Review case study kind of approach where it's a business discussion that happens and I'm interested in the sociolinguistics aspect of. So I don't see things the way that a lot of other strategists do so for Olga V. I looked at it as how do you sound basically how do you act I mean, it sounds like very simple brand strategy activity. But if with if you have a lens that you see the world through. That will color how you see it. Right? So the fact that I see things through critical theory mean that I look at it slightly differently. So Ogilvy the we started off with the classic strategy step of you have to diagnose you look to see what's happening you establish what the context is that things operate in which means you go through their old documents you go through some of their employee reports you go through. A General Industry analysis you look around and you know luckily having had a 30 plus year career. I kind of have some experience and a bit of a point of view about what's happening in the in the industry and ands, everybody's point of view is a little bit different and so I was able to bring that into some sort of diagnosis. Then you have to propose where you're going to go and that really is once again, the creative process that's like being a designer but instead of Designing a shape and form you're designing an ethic and you're designing a mindsets. So that process there was about eight months. I'm sitting with if sitting with the CEO and the CMO of Ogilvy and having a conversation about what you think. What do we think? You need to be? How do you need to kind of reframe what you are? Right and so one of the things that we had to deal with was David Ogilvy because you're right. Yeah. It is a very kind of dense history that they have to address. The problem with a Ogilvie is that he was such a well spoken and good writer. That's his these little phrases of his just kind of. All of the communications that come out of that company to the point where they become like these almost mouth like aphorisms, you know, like how and China in the 1970s Chairman Mao have a little red book of his quotes. Well, this is kind of the same thing that happened at Ogilvy. There is no are actually little books of quotes of David Ogilvy that passed around a Togepi so that personality had to be addressed. And in a way it was this process since I had worked at Ogilvy at a division of theirs was a bit of fratricide. I mean if the patricide I got I had an opportunity to attempt to kill the father, right and in this case David Ogilvy, so but if you take away all the David Ogilvy isms, you need to replace it with something. How are we going to see the company? What filter are we going to use? So. Ogilvy is a creative company. That's that's what they sell themselves as but there are many other people within that organization that helps support that creativity, you know from Finance to client services to accounting and you name it. There's there's they have a huge infrastructure that helps. That machine run but the problem is that if you have a creative departments, this is a conversation we had internally at Collins if you have a if you have a creative Department what that does is that gives permission for many people not to be creative because the creatives will take care of it. And so we're like no no, no, you all have to take charge of your creativity because there are answers that aren't necessarily the logo. I mean the communications of a. And are only a small fraction of the whole overall brand management activity. I mean, there are there strategic aspects to it. There are positioning there's manufacturer. There's just stripped distribution. There's like how people interact with customers. I mean just so many aspects to the to the to the brand customer journey, I guess it for lack of a better term that you need to have. You need to kind of integrate that notion of creativity and that permission for people to be creative. So one way that we did it. It's just to identify the fact that yes, graphic designers have craft art directors have craft the craft of typography the craft of photography of motion of sounds but that same level and appreciation of craft can also be applied to. Finance to marketing to HR. So how do you give people permission to think of themselves in that way and to elevate them at a similar level to the creative? So once you get all the sexy Awards and once you get all the attention that a company like oh like over V, so that was that was like kind of a crucial step for us. And we we said, you know, you are a global company and you have this opportunity and your reach goes beyond your company. Your reach is global and it's outside your company. It's to your clients. It's two people who used to work for you. It's two people who will soon work for you. Its people its everyone basically, so if you understand that whole kind of Networks. What Brian Eno calls a senior so it's not the genius of one person but two seniors of a scene right the collection of people. So if you pull from that seniors and pull from that Network, then you're bringing in whole other layers of craft and execute and skill into the work that you do and basically not to feel like you have to own your little place but to understand your role in the larger. Of all things. So that said on a philosophical level that's basically how we approached it. So in the execution, there's a series of you have to go through yield brand architecture, you know, the classic strategy. Of what are the values of the company? How do you I mean I had saw one night. I sat down and I wrote the values of the company and they pretty much remained after that one night. I mean they've been a couple changes but I'm very happy to say that those values are very close to what I wrote and how do those values interact with the idea of craft and how do they interact with? the. The expression of the brand of expression of the company. So another thing that we said with A over B, is that the era of advertising the way that Olga be thinks of its in a way that most other advertising companies think of it now granted this is not a new idea, but the end of era of advertising is for all intents and purposes changed. If not over so the 30-second commercial the beautiful print ad all that stuff. We still have we still need but there is more to it's right. There is there are whole other layers of design. There are other approaches to environments whether it be a digital environment or an actual physical space environment. There are I mean designed self could be from Graphics to packaging to product to even designing process. How does how does somebody go buy a product and then how does somebody go through a resolution if there's a problem that kind of stuff so looking at it on a craft design and Environmental Way Beyond just Communications which is whatever tizen is so that was that's kind of it in a nutshell. Yeah, I think it sounds like such a challenging project. How did you because that's always something that really triggers me like when you're doing strategy. It's always part where you're you're kind of like you're doing you're not inventing stuff because you're listening to the client. But how much is your input versus? What the client is telling you, especially when you're a repositioning it's a lot of like you're almost designing the future of the company and how do you balance those two? Because that's always something that a lot of designers are talking about like they give an example where they say the company says, that's our purpose but it doesn't sound like the right purpose. How much do you push and pull between those two things? Could you elaborate? Yeah, there's a degree of town. It has two sounds and feel with the degree of authenticity as to have a has to sound like it's coming from the company, but can't you can't everything can't sound like a. As much as much as people like it would like it too, but you're right there is that that dance between between those things and it's one of Personality. It's one of listening establishing trust and speaking honestly and being will and being willing to go through the design process. Design thinking for lack of a better term on a strategic level which means that you know, you're going to propose things that the Clans going to go. No, that's not right and to that's one thing about being a designers that. You know, I'm trained to be at peace with ambiguity and not knowing if you know, I don't have to know and that's that's a lot of the fear that I kind of smell around traditional strategist is that they have to know they have to there's a there's a desire to sound right? And you have to let that go and if you're if you're going to go anywhere different because if you are compelled to sound correct, you're good. That's that's what kind of generates all this kind of jargon that we hear all the time. I mean how many times have you heard some sort of or kind of seen somebody go through a deck where they talk about how they're going to inspire the audience, too. Like words like that how they're going to activate how they're going to let me know this this kind of language that people use is one of fear. And the fear of not looking like they belong and if you're going to build something different you have to you have to be at peace with that and proposed it and say listen, you know this this maybe even if you just say this may be a crazy idea but this is what this is a thought that I have and then allowing the client to kind of push back and then build it together. So it's just. And a lot of it, you know a lot of it could possibly be I mean, I'm just kind of floating this as an idea just came to me that maybe the reason why a lot of strategy kind of sounds the same it's because people don't really know what strategy is and feel like they have to step up to some sort of idealized model. But no one's agreed on that model that model is kind of existed spontaneously. It's like ideology ideology. Don't peep. There's no Committee of ideology that creates ideology. There's no Committee of strategy that sets up what strategy is. I mean, we kind of look to familial resemblance is right. It kind of feels like strategy it kind of acts like strategy. So therefore it is strategy, but that's that's that's allowing ideology to kind of determine. What something is what the form of something is? Okay. I mean I'm a designer but I love it and I've actually had done projects in the past where I try to design something where I don't design it. I try to design a situation where the design is done for me and I'll give you an example. I was doing a I've had for a long time for about almost 20 years now. A client called bang on a can bang on a can is a collective of three composers and they had no place to make you know for people to play the play their music when they were younger. So in the 1980s, they established a thing called the bang on a can Festival. And the name bang on a canvas just a way to kind of Express their outside Ernest to the establishment of classical composition. So over time they have become a very well respected International Group. Okay. Now they also are a democracy there are three of them. And there are very kind of influential people that work for them that help support them who also have a really good idea about how things should be and actually I don't disagree with any of them. So basically they are burdened by democracy. They'll have like five six seven voices chiming in on something on any kind of design that you do. So one point they came to me they were moving locations and I needed new stationery business papers, and I said that burden of your democracy. Makes it difficult for me to give you something that everyone's going to like so why don't we create a situation where no one has a choice right? So what I did was I designed letterhead and business papers. Where I just printed very simply one color and one side all the information that's needed. And on the back side. I went to the printer and I said what printing plates do you have laying around the pulled a few out? We wiped off the logos. We wiped off any kind of identifying texture like patterns and parts of images and I split it up like Robert rauschenberg. Okay, so the magenta plate from this. Project over here and the cyan plate from that project over there and I put it all together and it became literally a Robert rauschenberg on-site collage and it got and the printers got so excited that that when it came time for them to put the designed to print the business cards, they put it through the form then they took the paper out flip it around 180 degrees and put it through again. So basically I found a way for a. Poor Arts organization to have a 10 over 1 business card 10 colors over 1. It's insane and it perfectly expressed the spirit of that company. So that's that's what I mean. When I say that I like to design things where I have no control over it and I accept as a designer. This is the thing that most creative people like date which their eyes whenever they hear me say this. I am perfectly fine with people taking control of brand elements. Within reason Granite, you know, you don't want them to turn it into Pepe the Frog which will get will get back to you in a little bit, but I'm perfectly fine with people taking things and remaking it within within reason for within their own Vision because it's people it's the audience that makes the brand the brand does not issue the. Back in the day of advertising during Mad Men era when we only in the United States. We only had three networks. You could put one commercial on the three networks and that there would be a continuity and consistency to that message but now with social media and the growth of technological, you know Communications technology. We now have seven point five billion individual audiences. Everything is tweaked through program programmatic advertising and through algorithms to be specific for each individual person. So it's impossible and you're a fool if you think that you're going to create one consistent brand that exists perfectly for everyone. So let that happen and try and find a way for people to have that individuality and and for that kind of spontaneity to appear and to exist and try and find a way for it to also be coherent with the values of the brand. That is an amazing challenge. We are at an incredible inflection point and society and which is also like every client that. Spoken within the last two years is that the same place technology communication Society. Everything is understand undergoing such massive change that grants have to change along with it. And we're making it up as we go along. We're look overall looking for the best way to do it. There is no perfect way and it's exciting. It's absolutely great. So I mentioned Pepe the Frog for are you familiar with that whole notion notes never heard of it? Okay in the United States, there was a guy who I forget his name. He had a cartoon an online Cartoon. It was basically for kind of Stoner dudes, you know, dudes, you know college dudes like you know, that kind of juvenile humor. And it was an image of a frog who like walk like a person. So it was basically a human body green skin frog head. And there was one frame in one comic where the frog is urinating on the wall and the Tenney saying hey, man, if it feels good, you know and the alt-right. In the United States on 4chan took that image. And used it and changed it to become the mascot for the alt rights and for pro Trump supporters during the 2016 election the man who drew Pepe, the Frog was horrified that this thing was appropriated to without his permission and perverted and changed into something. That was absolutely the diametric opposite of what he wanted. So that is the power of the audience to make a brand. That's a good story. Well, it's also a very chilling cautionary tale. So if you're going to work on a large level both strategically and creatively. you need to kind of allow for that to happen. You need to be able to Envision what would happen if. And try and do what you can to change to prevent that you know, when I when I speak I often show the graphics of a brand and United States called Target originally was Target at all. Yeah, it's the the red belt logo, right? Yeah, right. I mean it's a very powerful graphic program. They some of the best graphic design of the last couple decades has been done for Target. It's just amazing. I mean the photography is beautiful. The advertising campaigns and marketing all of it is great. But I live in Queens and which is a borough of New York City. I live in Long Island City. Basically where Amazon is going to be in a couple years. I'm only a 5-minute walk from them and. When I ride my bike around Queens, there are a couple Queens is a burrow where there are some malls. It's not all very dense urban area. There are some spots where there are malls with sharpened with parking lots. And there's one model on Queens Boulevard that I that I took a picture of and I use this picture oftentimes when I speak I show targets graphic language. And how great their graphic design is and then I show the Target logo in context in the real world and there is a there's a mall that just like a generic box. It has all these horrible logos or sometimes good logos all kind of jumbled on the exterior of the building with absolutely no concern. As to proportion in between each other or any kind of relationship whatsoever. It's just noise and one of the biggest things that you see is to Target logo. So, you know, we were very happy as professionals to kind of sit within our little blanket forts and envision these idealized world's. I mean, that's what people pay us to do, but. We also need to think about what how it's going to be used in the world. We have to think about basically the visual pollution that were creating. It doesn't matter how beautiful a logo is in the wrong context its pollution. So this is you know, this is a thing that I'm beginning to try and consider in my professional work. Like, how can I how can I address this? I don't have an answer. But at least at least I'm aware of it. I don't have an answer yet. And I'm going to have my answer where my approach to it. But it's it's a problem definitely and I think it's interesting like even Beyond how logos are acting in the real world. It's a lot more clients are asking a lot more about like how they should behave in the real world how they should talk how they should bring support to their customers and it almost feels like as you're doing. Strategy, you're thinking about this brand in like the sense that like how it will be in the actual world and not just how it will look like or how we'll talk like and that's something that's really interesting for me, but it also brings like a huge responsibility. Absolutely. I mean it's there's a branding conference that happens every year. It's called brand new and firemen fit. Yes. Yes. Oh who you spoke to? Yes. Yeah. Yeah and every time someone shows their work, they'll show a logo that they designed and damn it like 85% of the time they're going to show that that visual identity system apply to a tote bag. And that's as far as it generally goes to for designers when they think about the application of their work. I'm more interested. If I'm going to design a design a logo how it would look on the side of that ugly building in Queens, right? That is an exercise to show your clients. Right? I mean that that is that is a dose of what's what right there. Yeah, and I think we've all been there like that situation where you create this beautiful thing and then you walk out in the real world and you see your logo on a place where you absolutely didn't expect it. Then it's really ugly and then we're frustrated and angry at the client. But actually we should be kind of angry at ourselves as well. I suppose exactly which means that we need to change how we design things. We need to change our notion of professionalism, and we also need to. Change our little borders that we have around each other. So what I tell I teach at the School of Visual Arts in the Masters and brand program and I have a very strange kind of Workshop. That's that I called logo insignificant and I present it to the students began presenting it to the students in this way that. The Strategic side of things and the creative side of things are not diametric opposites. They're actually variations on the same impulse to make something to make something with meaning and with use and hopefully with the degree of beauty too. And so if we allow ourselves to have conversations outside of our little area. I think that could be much much more rewarding and richer so yeah, and that's kind of funny because I had this question written down for you and it kind of what you just said kind of makes the question irrelevant because my it was the idea of like how do you balance the strategic person inside of you and the designer, but maybe that's just what you're saying that they should be built the same. It's the same. I mean, you know, we're in the last 20 years. Designers don't show their work as here's the logo they built a deck to sell it in right that deck is a strategic impulse. You know, they're using strategy and the very basic sense of the definition of the word strategy, which is about how you position forces to to reach an end right there using strategy to present their work. So, you know, why not expand. If you give yourself permission to do to do to do that to do that to show your logo or your visual identity system, then give yourself permission to go beyond that. It's that's the conversation that I tend to have with my own personal clients as they usually come to me and go, you know, like I'm doing some work for cannabis for cannabis company right now and it was originally we need someone to design Motion Graphics and like cool. Let's do it. And then as I begin to have a conversation with them, I found myself writing the strategy because they need to do videos. And so I have to. Presenting OK your videos could say this they could be centered around that and I found myself once again kind of falling into the Strategic side of things, but it's because I want my work to have relevance and I want my work to have some sort of difference because like in cannabis everything looks and sounds the same because they're making right now the industry and United States is so young. They're making a play or they're making a case for the medicinal benefits of it. Which means that you're going to have the same tropes and the same kind of messages that you have in big Pharma, but cannabis is not big Pharma. It needs to be something different. So what does that different thing going to be? And so that then becomes part of its both a strategic and creative problem at the same time. So, like I said, I mean I've had you know, I have a few Decades of experience. And so that is like the pull that in I like the pole in my own point of view my unique point of view coming out of what I've studied and what I read. As opposed to reading the Harvard Business Review, which I do every once in awhile, but you know, I also reads, you know, some of the more long-haired weird shit and so it's. It's all basically my Approach, you know, and I'm making my Approach up every day they are and how do you because that's something that the I imagine you won't always in the position to like do the strategy and the design part because those are huge project. How do you like Inspire the designers to to bridge that gap between what you're proposing as a strategy and what should be the. Creative direction for that. I don't have the perfect answer for this because all of my experiences have been less than perfect to be. I mean, I'm going to be honest. I mean I haven't I haven't figured that out yet in my own head. With my own projects where I'm overseeing the Strat the Strategic and creative side of things. It's much more seamless, but what I've experienced on the being at a strategic side of things is that a lot of designers like to have their own little area that they oversee and damn you if you try and make a suggestion. It's like that classic thing about designers and clients, you know, the client that the there's there all sorts of like Tumblr sites and Twitter feeds about you know, stupid things that clients say and designers and creative people tend to have that same attitude towards strategists and strategists have that same attitude towards designers and creative people. So, I have found that my best work tends to happen when I have a little bit of friction and disagreements with other my clients or an account person or a strategist and I've come to cherish to respect and to cherish that kind of interaction that came with me growing up a bit admittedly because I too have been that. Spoiled childlike childish creative person. So a little bit of growing up has helped me and coming to that realization that that conversation no matter how difficult can be helpful. So I need to convey that sense better with the people that I work with when I work in a more strategic side. That's something that I need to do better because. You know creative people and also this is also kind of a structural thing to Industry the advertising branding complex. agencies. are always are they staff differently than people that have in-house departments? Okay agencies don't really have the the money the throw a lot of bodies at something they can't because. It's the imperative is to do as much as you can with as few resources as necessary and those resources and agencies are people so you have fewer people and you also have less expensive people who tend to be younger. Which is why you know, there's been a conversation in the last couple months and advertising and United States how it has an H problem. So we have that youth there's pride in that youth there's pride and accomplishment and if you're in your mid-30s and you have a good maybe 10-15 years of experience and some some achievements and your portfolio. You become prideful. And it's only when you get a little bit older and you have a little bit more kind of road behind you that you start to your ego begins to kind of soften a little bit and you're able to listen, so I've been there and that's part of the. I think part of the the culture the cultural ization process that I need to go through with the people that I work with and helping them get to that place and helping me. I think I kind of understand where they're coming from. I need to I need to be more open to it. So this is how does one do it? You just have to grow up some people grow up faster than others. That's great advice you've been around like in huge agencies and I you have you had your own shop. And do you see like an evolution in the landscape of like these? I see a lot of small boutique shops doing a lot more strategy and even designers and then there's this huge agencies and they're all like, Somehow converging I have this feeling I don't know how you see this landscape evolving. I had an interview about 10 years ago with a very large branding firm and the CEO. It was with the CEO and it was for a position, which thankfully I never got and this guy's a bit of a little bit of a jerk. He had. He said we had met before at the brand new conference. Is it go? Hey, yeah, hi. Nice to see you. Again. He sits down it with a cocky attitude he goes. So what do you think of the world of branding these days like he's the expert. And I said it's upside down and he had to strange look on his face and like we like shocked and I said it's upside down because large firms are owned by holding companies who put a pressure for p&l profit and loss line on them. They have to hit Target numbers every. And what that does is that constricts the amount of flexibility that you have and the kind of clients that you're going to say. Yes to kind of project you're going to do and also how you're going to do those projects. So larger firms tend to have basically off the self shelf solutions that they do. Oh you're coming up with a new brand. Well, obviously, we need to get the c-suite all together in a hotel somewhere on a weekend. We need to run through this process. It's a it's a trademarked process. It's the. Process every time it it just give it a different name and a different trademark. So and that's just like off the shelf that there it is Bill $250,000 for a brand positioning Workshop. I Brand driver minute. All the different chefs have different names for the same thing. Now smaller firms have the ability to be more nimble. Because they don't have that PL requirement and also they're a little bit hungrier and their overhead tends to be a little lower a lot lower actually so they can the opportunity for Innovation is greater there. So and also, you know the dirty truth of hiring a large. Agency versus hiring a kind of a smaller more Boutique place is that both firms are going to throw the same number of people that's project. So when I was a landowner working on City, I was constantly maybe a team of five people between strategy writing myself senior designer and a planner right? That's small team and we were working on a global level. Yes, so so what's the difference? I mean the difference is really the procurement process that differences may be legal representation and a conference room and a receptionist. That's basically it. I mean it's it's all perception. Yeah. I have a network. I mean I'm one individual but I have a massive Network through the companies that I work for around the world if I have someone something that needs to be done in the asia-pacific area. I've got one or two people who I would. I would bet my would risk my life with that's how much I trust them and I've worked with them for over 10 years. So it's you know, I have the same networks that the large agencies do because that's where I got my training and everyone kind of works their way through the agencies and they go off the smaller agencies or they go out on her own. And so I have a network of those kinds of people. And on Facebook, I mean, I belong to various alumni networks on Facebook of secret groups of people that used to work at this company or that company its kind you have to where you have to be invited in and you know, I built my I can build my network there too. It's kind of it's all the same. It's about. I had a head a project but three two and a half years ago. I was asked to write a scope of work and began conversations with a large Global entity on a brand architecture program and I presented that to the company. And the reason why they were talking to me in the first place is that they didn't want to pay a large amount to an agency. So but the the work demanded basically, you know, you give up your life for this this many months. That's what's going to cost and what the team of Lake two or three other people so. The person we were speaking to goes to the finance head of Finance at the company and had a finance goes. Yes, that's what that costs and had no problem with it. And then the person said well if that's the case I can go to an agency. So I ended up losing myself in like a small team ended up losing to a large agency who came in with a scope of work, maybe $30,000 more and the the truth of the matter is that they would have hired the same number of people. So it's a really comes down to perception and I mean, I meant I'm invited to interesting conversations, but the super large ones not always, you know as malcontent as myself with like a constantly shifting team base of people that I bring in other other Independence. It's it's a little more difficult than if I was Sequel and Gale or if I was living Cod or if I was land or. There is a perception thing that you can there's a momentum that you can work with her. Would you say then that it's interesting for like designers are or smaller agencies to to present themselves as being like the big agency or that's like the the wrong way to go in this. Oh, I think that's absolutely the wrong way. You have to be truthful to what you are. And I mean I have experience. That's what I play that up in a big way, right? I let my beard grow just a little bit. I don't trim it. I don't shave it closely. So you see a little bit of great. You see the gray in my beard so that kind of shows that I've been around a bit, but I'm not uptight so I don't wear a tie and it's it's all acting. It's play-acting right? It's so you have to develop devise your. Hmm. I also read on your LinkedIn page. You beat out Massimo vignelli for a project that you tell us something about that story. Yeah, so in between the Cosmetic worlds and working at Ogilvy a big I had my own had a small boutique studio with my ex-wife and we specialized in music packaging and arts and culture. And so like we did 5 years of Central Park summer stage branding and advertising. I mean those are great great great projects, and I also did work in the galleries because I had friends who haven't gone to art school. I had friends who worked in the art world and I had done a few Gallery identities. So I had that we had that portfolio of stuff that we could work from. So my ex-wife actually grew up with the man who was in charge of the Guggenheim Museums retail Division, and she just happened to be walking down Fifth Avenue ran into him and said, hey, you know had a conversation but what are you doing? Oh, yeah. Hey, do you want to show stuff great and we basically did it out of that personal connection. So it I mean, I really don't think people should do work on spec but this we were young. We had this was an opportunity and she knew this person. So it was as for friends. Yeah, and so what we do tell so we show the work and they love it. You know, they that's what they it's it expressed the surface texture of the new building. This was this all happened around the time that they built the addition on back behind the Guggenheim. So they had renovated the whole rotunda the original Frank Lloyd Wright building which needed massive work. I mean, you know all the Frank Lloyd Wright's buildings always have leaky roofs asked another one of those cases, so. so they. The at that whenever fixing that they built the large addition behind it basically was called a rectangular box made the whole thing look like a toilet bowl. So our bags and packaging for the new shop represented that surface. I love that new building on the exterior and Massimo had done a very classic Massimo vignelli approach which was definitely within his style but it wasn't appropriate to the museum. It's actually something that I had seen him do for other organizations. Basically, which is a on one large side a detail of a painting on the gusset of the bag would be the artists signature or the name of the. Organization and at so it's a very kind of classic modernist way of segmenting information and also creating something beautiful. But the problem is that it's it becomes a Trope very quickly and we were more interested in something that was specific to the Guggenheim itself. And that's how I beat him out for on that project. All right, but that's interesting. I think I do think like with these kinds of Legends like Massimo vignelli, it's hard to have like. Balance between what's your your style or people are contacting you for and what is like appropriate for the project? Well, you know, it's interesting. He well first. Let me just say that I introduce myself at the opening of the Guggenheim and said hi. I'm the one who did the packaging and luckily I was a student of a good friend of his and so I drop that name Roger Remington and his face lit up and he would he was the most gracious. Person, he still did work for the Guggenheim. He just didn't do work in the retail division. So like I did all the shopping bags and I design products and special events shopping bags t-shirts all that stuff. So it was much more than than just the graphic design project. It was also a product design project and a sense of Proto branding project at the same time. So he was he was more than generous and. I'm very kind of welcoming and absolutely a lovely lovely person but what's interesting, you know coming back in your question is. You know people go to these figures often times because they have a point of view not necessarily because of the the form or the style the people that depend on the style of their work. I think have a shorter career than those that have a point of view or kind of an intellectual approach and he had. A vital kind of intellectual approach to corporate identity branding and visual identity systems. He basically helped build the modern approach to that. So he you know, he deserves all the deposition in the pantheon. Hmm. Well Mark, I think this was already some really interesting episode and I love to hear you talk a little bit more because you have so much stories to tell but maybe we could just end this episode with like some party or parting words. If you have some kind of advice for for designers and creative people listening wanting to become better designers or more valuable. What could you say the best piece of advice I ever heard. For Francis Ford Coppola the director who said that all the good things in his life came from saying yes. So now granted that does that does not mean to say yes to heroin or opioids but saying yes to Opportunities, even when they don't seem immediately like they're going to be that rewarding. So I've said lest I said yes to. And just being open open to conversations open to Chris criticism open to feedback open to failure open to ambiguity say yes to all of it. Cool. Well if people want to reach out and talk to you where could they reach you? Well, my website is I'm in the middle of rebuilding it. There's a whole long story involving Russian hackers, which I'm not going to bore you with. You got Hillary Clinton or what? It was a little more mundane than that. Basically I had to take my whole digital existence and burn it to the ground and I'm rebuilding it in a new place, but it's an opportunity to rebuild and redesign the website. So hopefully that'll be up in a couple weeks. But I'm at malcontent.com Mal cont ENT and so you can reach out Market malcontent.com if you want. All right, that was it for this episode. I hope you enjoyed it as much as I did and I'm looking forward to the following episodes. If you like this episode, I would appreciate it. If you give me a rating on iTunes or give me some feedback through the block or email. I have some exciting news. My online course is almost ready and you can already purchase it and get Early Access visit branding dot courses and check out the free lesson that's branding dot courses. See you there

This week we jump in the sleeping bag with Amy Smith, podcast host of the weekly popular The Joy Junkie podcast, author of Stand Up For Yourself Without Being a Dick, and cool chick that likes the smell of Drakkar Noir cologne. The gang talks about disappointing people, how to apologize when you've been a Sht Show and why Beau should switch to online banking only. 

We make a pants-peeing announcement. Bela crushes it. Egwene is here for alllll this. Moiraine does a bamboozle (girl, go on brush your shoulders off). Rand makes an unwelcome discovery. Lan is predictably cheerful. Does anyone else remember Drakkar Noir?

Guest Andy Keiler hosts and produces a weekly podcast called, Jams 4 Man, which dives in the musical history of Northern Virginia through the late 80s and early 90s.  Check out his podcast at http://jams4man.podomatic.com Then jump aboard the latest craze, and take a little wasp killer with your meth! Because how else could anyone enjoy this show? Slap on some googly eyes, and lather on the Drakkar Noir for this week's episode of Another Wasted Hour.

Why did Drake tattoo a bottle of Drakkar Noir on his left shoulder? The answer to that, and other burning questions about the men's cologne that is both 80s time capsule and fragrance industry game changer.

Now that u/itsyerdad is over his chest cold, we finally get to do the episode we've been teasing for the better half of the month, r/fragsplits. Somewhat like the Reddit Secret Santa, r/fragsplits turns the digital world of Reddit physical by creating a community where different users buy super expensive niche perfumes, then send tiny 10ml to 25ml bottles to "splitees" eager to try these exotic niche perfumes at a much more reasonable quantity and price. As anyone who regularly listens to this pod can rightfully assume, we're not exactly the most sophisticated trio when it comes to the more high brow facets of society. So, not only did our guest u/Alryjul take it upon himself to explain how to the sub worked, but the niche fragrance community in general. Plus, we spend more time talking about Drakkar Noir than anyone has in the last decade and a half, we revisit 2018's best kept secret, Iceberg and Ranch Cake Pops, and we briefly discuss Reddit's recent announcements regarding Russian meddlin'. This episode brough to you by 23 by Michael Jordan, for men.

Another week, another epic episode of sports news delivered by the only people left who understand sports.  Simon comes out strong as we discuss Eli Manning being euthanized, old school colognes like Drakkar Noir, the flammability of Brut, the sadness of watching the Sixers blow a strong lead, the possibility of Joel Embiid's top-notch shit talking actually being a sign of some deep-seeded insecurity, Mikal hearing a beeping sound no one else hears, TJ McConnell being worth it, what the coach said to Giannis Antetokounmpo that made him say the F-word, how virginity affects sports play, and the introduction of the theory that everyone on the 76ers is a virgin.

Happy Thanksgiving, America! If you're a stateside listener, we hope this year brings you a Thanksgiving spread free from political commentary and distant relative stank. But chances are, you're sitting ringside to "A Very MAGA Thanksgiving 2017," while your step uncle-in-law continuously douses himself in Drakkar Noir. The maybe, potentially silver lining? The mall opens at 6pm and you can channel all of your resulting aggression into a box store stampede. Or better yet, you can hide out in grandma's sewing room, scream crying into a pillow between bites of pumpkin pie. Speaking of moist, the DTFU ladies are thankful for YOU think year, Listener!

Breaking news: Twenty-one years after he met her, Mike still hasn't figured Megan out. Is she really a hippie in suburban mom's clothing? But then why has she never smoked pot? And why didn't she tell him about those co-ed sleepovers she attended in high school? These burning questions are answered (sort of) in the latest episode of 100 Things, which also features the harrowing tale of that time Mike got asked to "go with" a girl for the first time. (Moral of the story: pizza > girls.) The jar offers a topic that made even the writer of it go "ugggggh." Are mom dates really a thing, or are some of us just missing our high school cliques? Who knows, but one thing is certain: Megan and Mike wouldn't relive THEIR awkward high school years for anything. But hey, for old time's sake, spritz a little Drakkar Noir on your pulse points and get ready to cringe. This is episode 33. EPISODE WINE: BOGLE MERLOT 2015CLOSING SONG: "THIRTEEN" ELLIOTT SMITH (BIG STAR COVER)

DJ Funsize is the most fun size, for sure, and this is a fun one, for sure!  Not only do we break it down with DJ Funsize, but a tried and true PBR favorite makes a return. Oh, we also anoint a new official PBR Fact Checker, talk Twitter verification bets, ponder who can breaking industrial plumbing with a bowel movement & finally death. Enjoy! LINKS: https://en.wikipedia.org/wiki/Drakkar_Noir https://twitter.com/DJFunsize10 https://www.instagram.com/djfunsize10/ http://www.pbrpodcast.com https://www.youtube.com/user/PizzaBeerRevolution/videos https://www.facebook.com/pbrpodcast https://twitter.com/PBRpod  

THE GREATEST EDITION of the Dance Megamix happened when I played 2 hours of "Jock Jams" and Euro House. Spray on the Drakkar Noir and pull on your Armani Exchange jeans, cuz it's go time!!! Tracklist for August 3, 2016 01 :: N-Joi - Anthem 02 :: Livin' Joy - Dreamer (Original Club Mix) 03 :: Bizarre Inc. feat. Angie Brown - I'm Gonna Get You (Original Flavour Mix) 04 :: Marky Mark & The Funky Bunch - Good Vibrations 05 :: Black Box - Strike It Up (Original Remix) 06 :: Technotronic feat. Felly - Pump Up The ...