Podcast appearances and mentions of Ed Burns

Send us a textOne of my favorite romantic tropes in all the world is chosen or found family. Rock bands, the military, college besties, your work husband and siblings, your little clique in high school, your beloved pets past and present—if they choose you and you choose them, they're family. If you had a less than ideal upbringing, stories like these full of emotional complexity along with acceptance, loyalty and love, are so healing and remind us that relations are always our choice.https://www.confessionsofaclosetromantic.comWho wouldn't want to be related to these people?!The amazing cast and crew of The Four Seasons.The intrusive soundtrack drives me bonkers (yes, we know they met in the 80s!) but the camaraderie is just so dang good in Peter's Friends. Friends with Kids owns the chosen family and friends-to-lovers tropes—though you have to suspend disbelief that no one seems to want Ed Burns, who represents the most perfect partner to ever roam the earth.Support the showIf you enjoyed this episode, please click share in your podcast app and tell your friends! Thanks for listening!

Join Washington Examiner Senior Writer David Harsanyi and Federalist Editor-In-Chief Mollie Hemingway as they discuss the U.S. Supreme Court's handling of the Trump administration's deportation of Kilmar Armando Abrego Garcia, analyze President Donald Trump's decision to cut off billions of federal funding for Harvard University, explore how Democrats normalize political violence, and talk over New York Attorney General Letitia James' alleged mortgage fraud. Mollie and David also share their thoughts on Life or Something Like It, Ed Burns, and Smokey and the Bandit.If you care about combating the corrupt media that continue to inflict devastating damage, please give a gift to help The Federalist do the real journalism America needs.

Join Washington Examiner Senior Writer David Harsanyi and Federalist Editor-In-Chief Mollie Hemingway as they discuss the U.S. Supreme Court's handling of the Trump administration's deportation of Kilmar Armando Abrego Garcia, analyze President Donald Trump's decision to cut off billions of federal funding for Harvard University, explore how Democrats normalize political violence, and talk over New York Attorney General Letitia James' alleged mortgage fraud. Mollie and David also share their thoughts on Life or Something Like It, Ed Burns, and Smokey and the Bandit.If you care about combating the corrupt media that continue to inflict devastating damage, please give a gift to help The Federalist do the real journalism America needs.

In this episode of the Grow Your Wealth podcast, host Travis Miller sits down with Ed Burns, a seasoned investment professional with over two decades of experience across global markets. From his early days in Adelaide to working in London and Sydney, Ed shares his journey in financial services, including his time at UBS and other top-tier firms. He discusses alternative assets, structured products, and the art of managing risk in volatile markets. Ed also shares his thoughts on the importance of networking, mentorship, and navigating pivotal career moments. This episode is a must-listen for investors looking to gain insights into alternative investments, market cycles, and long-term wealth creation. [00:00:00] - Introduction: Meet Ed Burns and His Career in Investment Markets [00:05:20] - From Adelaide to London: Taking a Career Risk and Breaking Into Finance [00:12:30] - Navigating Investment Banking: What a Day in the Markets Looks Like [00:18:50] - The Role of Alternative Assets: Structured Products and Non-Linear Payoffs [00:24:10] - Managing Risk: Lessons from the GFC and Market Cycles [00:30:45] - The Power of Networking: Building Relationships in the Finance Industry [00:36:15] - Advice for Entrepreneurs: Taking the Leap and Understanding Market Trends [00:42:10] - Common Investment Mistakes: Chasing Trends vs. Long-Term Thinking [00:47:35] - The Future of Markets: AI, Investment Strategies, and Emerging Trends [00:52:20] - Final Thoughts and Connecting with Dan Burn iPartners Website: www.ipartners.com.au Register Here: https://ipartners.iplatforms.com.au/register/register-as-wholesale/ iPartners LinkedIn: https://www.linkedin.com/company/ipartners-pty-ltd Follow Travis Miller: https://www.linkedin.com/in/travismilleripartners

On episode 812 of WHAT THE TRUCK?!? Dooner is talking to Fleet Defender's Terry Reinart about hacking semi trucks. How vulnerable are these 80k lb machines? From maleworm worms in ELDs to remote controlled semi trucks, we'll take a look at how fleets are getting hacked. Beyond hacking, fleet safety is always top of mind. We'll find out how trucking companies are keeping drivers and the motoring public safe with Tenstreet's Taylor McIlroy and Ploger Transportation's Bob Ware. TruSygnal connects shippers and carriers on contract freight opportunities. We'll find out from c-founder Ed Burns how it works and why he is building the company. Plus, should you tip your lumper; trucking company files chapter 11; new FMCSA head and more. Catch new shows live at noon EDT Mondays, Wednesdays and Fridays on FreightWaves LinkedIn, Facebook, X or YouTube, or on demand by looking up WHAT THE TRUCK?!? on your favorite podcast player and at 5 p.m. Eastern on SiriusXM's Road Dog Trucking Channel 146. Watch on YouTube Check out the WTT merch store Visit our sponsor Subscribe to the WTT newsletter Apple Podcasts Spotify More FreightWaves Podcasts Learn more about your ad choices. Visit megaphone.fm/adchoices

On episode 812 of WHAT THE TRUCK?!? Dooner is talking to Fleet Defender's Terry Reinart about hacking semi trucks. How vulnerable are these 80k lb machines? From maleworm worms in ELDs to remote controlled semi trucks, we'll take a look at how fleets are getting hacked. Beyond hacking, fleet safety is always top of mind. We'll find out how trucking companies are keeping drivers and the motoring public safe with Tenstreet's Taylor McIlroy and Ploger Transportation's Bob Ware. TruSygnal connects shippers and carriers on contract freight opportunities. We'll find out from c-founder Ed Burns how it works and why he is building the company. Plus, should you tip your lumper; trucking company files chapter 11; new FMCSA head and more. Catch new shows live at noon EDT Mondays, Wednesdays and Fridays on FreightWaves LinkedIn, Facebook, X or YouTube, or on demand by looking up WHAT THE TRUCK?!? on your favorite podcast player and at 5 p.m. Eastern on SiriusXM's Road Dog Trucking Channel 146. Watch on YouTube Check out the WTT merch store Visit our sponsor Subscribe to the WTT newsletter Apple Podcasts Spotify More FreightWaves Podcasts Learn more about your ad choices. Visit megaphone.fm/adchoices

We have a guest speaker today: Ed Burns.In this sermon, Ed talks about the difficulties of holding on to reassurance and attention from other people. He also breaks down what it means to set aside our selfish needs and relinquish attention to Jesus. Thanks for listening! LAKEVIEW MISSIONARY CHURCH810 S. Evergreen Dr.Moses Lake, WA 98837509-765-5270www.LakeviewMissionaryChurch.comPastor Christopher sends a weekly update to our church every Wednesday with an encouraging article, prayer requests, and announcements. Subscribe here, http://eepurl.com/hC7SHDScripture taken from the New American Standard Bible, Copyright The Lockman Foundation 1960, 1962, 1963, 1968, 1971, 1972, 1973, 1975, 1977, 1995. Used by permission.

It's cold and you don't want to venture outside. And if you do, you want it to be worth the trip. Luckily we've checked out all your entertainment options. If you're staying inside and streaming we've got "Bridget Jones: Mad About the Boy." In this one Bridget Jones navigates life as a widow and single mum with the help of her family, friends, and former lover, Daniel. It's on Peacock. On Apple TV+ there's "The Gorge" starring Miles Teller and Anya Taylor-Joy. They play two highly-trained operatives who become close after being sent to protect opposite sides of a mysterious gorge. When an evil emerges, they must work together to survive what lies within. For theater goers there's "Millers in Marriage. Wirter/director Ed Burns tells a tale of three middle-aged married couples coming to grips with universal questions about marriage and fidelity, professional success and failure, and the challenge of finding a second act. For documentary fans we've got "Sly Lives (aka The Burden of Black Genius) which focuses on the life and legacy of Sly and the Family Stone, telling the story behind the rise, reign and fadeout of one of pop music's most influential artists. If you're into TV series we'll give you a preview of the new season of "White Lotus." Plus we've got "Nobody Wants This" and "Have I Got News For You." And if you like hearing us go on and on you can listen to us discuss the SNL 50th Anniversary specials. There's more, too. So listen in. 

Marking ten years since the phenomenon known as "The Dress." Also, Robert De Niro stops by to talk about his new thriller series 'Zero Day.' Plus, Ed Burns shares details on his latest project, 'Millers in Marriage.' And, mixologist Jose Maria Donde kicks off National Margarita Day with some creative new recipes.

On this episode, recorded live from Manifest: The Future of Supply Chain & Logistics, Andrew interviews nine founders about their budding startups:Ed Burns with TruSygnal, a connection platform for shippers and carriersTom Curee with Qued, automated appointment scheduling through AIOmar Singh with Get Real Rates, an API pricing toolChip Reeves with Enablers, logistics human and AI staffingAlex Bezzubets with myMechanic Inc., a roadside assistance platformShan Wu with Forward Labs, a brokerage sales prospecting toolSadie Frank with N4EA, predictive intelligence tools for climate riskThomas Mella with TrackFlo, a track-and-trace optimization platformAnnalise Sandhu with Chain, AI-powered freight booking and visibilityFollow The Freight Pod and host Andrew Silver on LinkedIn.***Episode brought to you by Rapido Solutions Group. I had the pleasure of working with Danny Frisco and Roberto Icaza at Coyote, as well as being a client of theirs more recently at MoLo. Their team does a great job supplying nearshore talent to brokers, carriers, and technology providers to handle any role necessary, be it customer or carrier support, back office, or tech services.***

Host Evan Marinofsky and co-host Patrick Donnelly dive into several key topics. They recap the Ed Burns tournament, highlighting notable games and player performances. They then transition to forecast the Elite Eight for both boys and girls prep hockey, analyzing current standings, pivotal upcoming games, and potential upsets. The conversation also touches on the large and small school brackets and teams poised to make an impact. The episode concludes with a fun segment called Overtime, featuring memorable hockey quotes and the hosts' reactions to them.   Topics   00:25 Flu Shots and CVS Experiences 01:45 Hockey Season Overview 02:15 Ed Burns Tournament Recap 03:14 Braintree vs. Reading Analysis 07:25 Hingham vs. Winchester Breakdown 09:41 Belmont's Top Line and Tournament Potential 12:52 Arlington's Dominant Performance 15:04 Girls Prep Hockey: Williston vs. Dexter 18:36 Elite Eight Forecasting 25:28 Tabor's Tough Schedule and Future Prospects 25:48 Boys Elite Eight Rankings Breakdown 26:19 St. Mark's Impressive Performance 27:42 Dexter and Avon's Dominance 28:11 Salisbury's Remarkable Turnaround 28:50 Cushing's Mixed Results 29:10 Potential Elite Eight Contenders 31:04 Large and Small School Tournament Insights 36:17 Overtime: Best Hockey Quotes 45:10 Conclusion and Upcoming Events

Happy New Year! We are back with a new look and name: The NYWIFT Podcast, with this week's hosts Katie Chambers and Janine McGoldrick. Penni interviews Director/Producer Yvonne Russo and EP Amy Kaufman about their powerful Hulu docuseries Vow of Silence: The Assassination of Annie Mae, a harrowing tale about a missing Indigenous woman. And Tammy interviews Costume Designer/Wardrobe stylist Rosemary Lepre Forman, who discusses her latest star-studded collaboration with filmmaker Ed Burns. To be featured on the podcast email us at communications@nywift.org. For more great content go to NYWIFT.org.

Send us a textEd Burns has mined his experience growing up in an Irish American family on Long Island over the course of his long career as an independent filmmaker, most notably in his breakthrough film The Brothers McMullen in 1995.  He has written thousands of words on the page that end up on the screen.   Now the words are staying on the page in his novel “A Kid From Marlboro Road.”  It's hardly autobiographical but clearly influenced by those years long ago as a kid on Long Island.  His parents gave him roots and introduced him to the worlds of theater and writing and books.  Ed's career has taken him around the world while never straying far from home.

You likely know longtime Hollywood actor Ed Burns for his turn as Richard Reiben in Saving Private Ryan. Since breaking through with his independent 1995 film The Brothers McMullen, Burns has found success both in front of and behind the camera. But after falling hard for golf during the pandemic, Burns has started to see the world, and his creative outlets, through the lens of the game. In this episode, recorded live from Sullivan County GC, Ed takes host Tom Coyne through the genesis and filming of Finnegan's Foursome, his upcoming Irish golf film shot partially around Carne Golf Links in Belmullet, and digs into his new novel A Kid From Marlboro Road. It's a rare peek behind the curtain at the creative process, as host and guest trade tales from the writer's room to the film set, and Burns relates how scattering his mother's ashes inspired a film about a family both bound and broken by golf. And if you're one of those viewers who scoff at shoddily edited golf sequences, you're in luck—Burns is right there with you. The Golfer's Journal and this podcast are made possible by reader support. If you enjoyed this episode, please consider becoming a member here: https://glfrsj.nl/MembershipsYT The Golfer's Journal Podcast is presented by Titleist.

You likely know longtime Hollywood actor Ed Burns for his turn as Richard Reiben in Saving Private Ryan. Since breaking through with his independent 1995 film The Brothers McMullen, Burns has found success both in front of and behind the camera. But after falling hard for golf during the pandemic, Burns has started to see the world, and his creative outlets, through the lens of the game. In this episode, recorded live from Sullivan County GC, Ed takes host Tom Coyne through the genesis and filming of Finnegan's Foursome, his upcoming Irish golf film shot partially around Carne Golf Links in Belmullet, and digs into his new novel A Kid From Marlboro Road. It's a rare peek behind the curtain at the creative process, as host and guest trade tales from the writer's room to the film set, and Burns relates how scattering his mother's ashes inspired a film about a family both bound and broken by golf. And if you're one of those viewers who scoff at shoddily edited golf sequences, you're in luck—Burns is right there with you. The Golfer's Journal and this podcast are made possible by reader support. If you enjoyed this episode, please consider becoming a member here: https://glfrsj.nl/MembershipsYT The Golfer's Journal Podcast is presented by Titleist.

🤝 Colaboración de Parabellum 2.0 para Casus Belli Podcast. De los creadores Ed Burns y David Simon ( The Wire ), esta miniserie de siete episodios se centra en los primeros 40 días de la invasión estadounidense de Irak, desde el punto de vista de un grupo de marines. Producida por HBO, se emitió entre julio y agosto de 2008. Una nueva joyita de las producciones de temática bélica que hoy te traemos de la mano de 🎙 Agustín Lara del Podcast 📽 Espartanos del Cine. Parabellum 2.0 Historia Podcast pertenece a la Factoría Casus Belli http://casusbelli.top Puedes ponerte en contacto con nosotros en el mail info@podfactory.es Estamos en: 🆕 WhatsApp https://bit.ly/CasusBelliWhatsApp 👉 X/Twitter @CasusBelliPod 👉 Facebook https://www.facebook.com/CasusBelliPodcast 👉 Instagram estamos https://www.instagram.com/casusbellipodcast 👉 Telegram Canal https://t.me/casusbellipodcast 👉 Telegram Grupo de Chat https://t.me/casusbellipod 📺 YouTube https://bit.ly/casusbelliyoutube 👉 TikTok https://www.tiktok.com/@casusbelli10 👉 https://podcastcasusbelli.com 👨‍💻Nuestro chat del canal es https://t.me/casusbellipod La música que puedes escuchar en este episodio lo hacen bajo la licencia privada de Jamendo Music, Epidemic Sound, o licencia global contratada y gestionada por IVOOX (SGAE RRDD/4/1074/1012), para el uso de "música comercial" del repertorio de la Sociedad de Gestión. El resto de música es bajo licencia Creative Commons 3.0 http://creativecommons.org/licenses/by-nd/3.0/ ¿Quieres anunciarte en este podcast? Hazlo con https://advoices.com/podcast/ivoox/391278 Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Ed Burns, CEO of Burns Logistics, joins Jeremy Reymer, founder of DriverReach and PROJECT 61, to discuss the importance of building meaningful relationships and being a connector in the trucking industry in order to help solve problems. Ed also shares about the evolution of Burns Logistics, the company he leads with his father. Special thanks to the show's sponsors! DriverReach (https://www.driverreach.com) The National Transportation Institute (https://driverwages.com/) Career Now Brands (https://careernowbrands.com/) Carrier Intelligence (https://www.carrierintelligence.com/) Infiniti-I (https://infinitiworkforce.com/) Workhound (https://workhound.com/) Asurint (https://asurint.com/) Arya By Leoforce (https://leoforce.com/) Seiza (https://www.seiza.co/) Drive My Way (https://www.drivemyway.com/) F| Staff (https://www.fstaff.com/) Trucksafe (https://www.trucksafe.com/) Seated Social (https://seated-social.com/) Repowr (https://repowr.com/) If you're interested in joining the show or being a sponsor, please email jeremy@takingthehireroad.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Apple presents a new line of products including their new iPhone 16 with artificial intelligence. Also, writer and director Ed Burns goes in-depth about his new book A Kid From Marlboro Road and the sequel to ‘The Brothers McMullen.' Plus, actress Lupita Nyong'o dishes the latest on her new animated film ‘The Wild Robot,' the voice-acting process, and what's next in her career.

In this episode of ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BragTalks⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, host Heather VanCura interviews Ed Burns about how to incorporate standards leadership into your technical career journey. Ed shares his experiences and the impact that his participation in standards has had on his career Listen to hear about how he approached getting involved and how he developed his leadership in this area. Season 7 is about sharing the experiences of technical professionals and building on the interviews from the recently published book '⁠⁠⁠Developer Career Masterplan'⁠⁠⁠. This episode is a story that links to Chapter 14 of the book. Biography: Ed Burns is currently Principal Architect on the Java Tooling and Experiences team at Microsoft. In this role, Ed will help make Azure the best place for Enterprise Java. Ed has worked on a wide variety of client and server side web technologies since 1994, including NCSA Mosaic, Netscape 6, Mozilla, the Sun Java Plugin, Jakarta Tomcat and JavaServer Faces, and the Servlet specification. Ed has lead or co-lead the expert groups for Servlet and JavaServer Faces. Ed has published four books with McGraw-Hill: JavaServerFaces: The Complete Reference (2006), Secrets of the Rockstar Programmers: Riding the IT crest (2008) JavaServer Faces 2.0: The Complete Reference (2010) and Hudson Continuous Integration In Practice (2013). To learn more about his books or projects, you can visit his website at .

In this episode of Freight Nation: A Trucking Podcast, host Brent Hutto is joined by Ed Burns, CEO of Burns Logistics. Join them as they discuss Ed's journey to taking over the helm of his family business from his father, stopping off to discuss the ups and downs of his entrepreneurial career and Burns Logistics' unique business model.

It's always way fun to have a guest who is also a fan of the show. This week's guest is definitely a member of the tribe. We chatted up pre-interview about some of his favorite IFH podcast episodes like Ed Burns and Joe Carnahan and I knew front hen on we were on for a treat. My guest today is award-winning writer, director, and producer, Chris Sparling.Chris has written some of Hollywood's most original and fascinating screenplays like Buried, Greenland, Mercy, Down A Dark Hall, Reincarnate (featuring Leonardo DiCaprio), The Sea of Trees with Matthew McConaughey, etc.Enjoy my entertaining conversation with Chris Sparling.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Ed Burns and Joe Lynch discuss getting good shipper freight. Ed is the CEO of Burns Logistics, a transportation sales agency that connects shippers and carriers in a way that helps both to achieve their goals. About Ed Burns Ed Burns loves to connect people. It's amazing what can happen when good people come together. He asks big questions in the hope of finding big answers. He started his first real business at 20, a marketing agency which he sold after running for seven years. He grew up around the freight world and is fascinated by big trucks. He joined the family business in 2020 while the world was ending, and is committed to making transportation a better place for both shippers and carriers. For fun, he builds sandcastles. They are a wonderful analogy for what it takes to build businesses: time, effort, caring, and willingness to let go. He is a husband and father and believes that kids hold the key to happiness because they see everything with a sense of wonder. About Burns Logistics Burns Logistics is a transportation sales agency that connects shippers and carriers in a way that helps both to achieve their goals. They believe in a world where freight gets where it needs to be on time, in full, while everyone involved makes a good living. They represent a book of asset carriers and match them with shippers who value relationships and service. Key Takeaways: Getting Good Shipper Freight Burns Logistics is a transportation sales agency that connects shippers and carriers. Their services include regional, national, and reefer and dry van truckload transportation. They also specialize in warehouse space in the New York market, the Lehigh Valley, and Atlanta area. Burns Logistics helps shippers by finding carriers, negotiating rates, and managing logistics. They offer additional services such as HAZMAT transportation, expedited shipping, flatbed trailers, LTL (less-than-truckload) shipping, and more. Burns Logistics prioritizes building strong relationships with their clients and providing excellent customer service. Learn More About Getting Good Shipper Freight Ed Burns | Linkedin Burns Logistics | Linkedin Burns Logistics Crazy Ideas from Ed Burns The Logistics of Logistics Podcast If you enjoy the podcast, please leave a positive review, subscribe, and share it with your friends and colleagues. The Logistics of Logistics Podcast: Google, Apple, Castbox, Spotify, Stitcher, PlayerFM, Tunein, Podbean, Owltail, Libsyn, Overcast Check out The Logistics of Logistics on Youtube

On this week's episode, we have actor Jamie Kaler (My Boys, Tacoma FD, Robot Chicken and many many more) and we talk about his career path as well as his experiences doing stand-up. There's so much more so make sure you tune in.Show NotesJamie KalerIMDB: https://www.imdb.com/name/nm0435695/Jamie Kaler on Wikipedia: https://en.wikipedia.org/wiki/Jamie_KalerJamie Kaler on Instagram: https://www.instagram.com/jamiekaler/?hl=enJamie Kaler on YouTube: https://www.youtube.com/user/jamiekalerA Paper Orchestra on Website: https://michaeljamin.com/bookA Paper Orchestra on Audible: https://www.audible.com/ep/creator?source_code=PDTGBPD060314004R&irclickid=wsY0cWRTYxyPWQ32v63t0WpwUkHzByXJyROHz00&irgwc=1A Paper Orchestra on Amazon: https://www.amazon.com/Audible-A-Paper-Orchestra/dp/B0CS5129X1/ref=sr_1_4?crid=19R6SSAJRS6TU&keywords=a+paper+orchestra&qid=1707342963&sprefix=a+paper+orchestra%2Caps%2C149&sr=8-4A Paper Orchestra on Goodreads: https://www.goodreads.com/book/show/203928260-a-paper-orchestraFree Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Newsletter - https://michaeljamin.com/newsletterAutogenerated TranscriptJamie Kaler:He goes, Hey, just so you know, when you do watch it, we were running long for time. So we cut the tag. I go, you mean the reveal where I kissed the woman? He goes, yeah, we ran out of time and we cut it. I go, then everything I did up to that moment has no justification whatsoever because this is the craziest thing. He goes, I know. He goes, what are you going to do with tv? I go, all, whatever. And I moved on and I was like, couldn't care less. ButMichael Jamin:You are listening to What the Hell is Michael Jamin talking about conversations in writing, art, and creativity. Today's episode is brought to you by my debut collection of True Stories, a paper orchestra available in print, ebook and audiobook to purchase And to support me in this podcast, please visit michael jamin.com/book and now on with the show.Hey everyone, welcome back to another episode of What the Hell is Michael Jamin talking about? Well, today I'm talking about acting with my guest, Jamie Kaler. This guy, before I bring him on this guy's credits are crazy. He works a lot and so I'm going to blow, yeah, blow through. I'm going to do the abridge version. If not, we'll be here all day, but I'm going to go way back. I'm on IM db now. I'm only doing the ones that I decide are highlights. But Jag, he's been on Fringe Friends. Suddenly. Susan Carnival, third Rock in the Sun, king of Queens, grounded for Life, married to the Kelly's Arrested Development, Spanglish, seventies show. What else Will and Grace, the Family Stone? Who remembers that? Monk New Adventures of Old Christine Sons and Daughters. How I Met Your mother, my boys. We know 'em from that. And then did I say Parenthood? Did I say shake it up? Did I say Austin and Allie? Did I say Teachers of the Year? I don't remember. I'm skipping crazy Ex-girlfriend. Jesus, dude. It doesn't end the middle Dads in Parks. Oh, we'll talk about that. Heather's robot Chicken. American Housewife. Most recently Taco fd where my partner and I created the character of Polanski. Jamie, that was exhausting. Are we done with the interview now?Jamie Kaler:Honestly, it was so much fun being here, man. All right, everybody, take care. See you later.Michael Jamin:That was such good advice. Sorry, you guys all missed it. Dude, you've been around. How did you get into acting? How does someone get into acting? By the way,Jamie Kaler:People ask me nowadays, and I go, dude, it's nothing. I mean now it's like don't even move to la just start a YouTube channel in upstate Minnesota and try to blow up. And then once you have a following, then you're set.Michael Jamin:But we were talking about on your podcast, the parent lounge, but I know you think it's like a burden, but I think it actually works in your advantage to you, to your advantage because you're really good at it. You're good. You have a great social media presence. You're quick on your feet. It seems to me this, even though it requires more work for you, it actually works in your favor. No,Jamie Kaler:You mean social media doing it this way? Yeah, of course it is, but I already did it. So now I'm kind of the same way that I used to go buy wigs and glue on mustaches and actually lit myself on fire on stage at Acme Comedy Theater when I was doing crazy shows on Friday and Saturday nights in the nineties with that fervor of what are we doing today? We're going to Goodwill, we're going to get some costumes, here we go. And I remember renting equipment, trying to shoot shorts and trying to clerks, and Ed Burns had made the brothers McMullan or whatever, and it was like, come on, we're making film. It was super hard and it was painful and it was costly. And nowadays you can do it with your phone. But I'm older, I don't quite have the drive. I also am watching two little kids.So the time in the day is where I used to go, this is my day. I'm going to go do this now. I'm like, I dropped the kids at school. I had to go to the cleaners. I taking care of the two kids. I got to pick them up. I'm coaching soccer today. So yes, I will say though, especially watching you and you're a writer, but now you have to become a social media guru to get people to see what you've created and you're an artist. But nowadays, gosh, I was posting something this morning about the pregnant pause is gone pretty soon. Humans are going to evolve where the eyes instead of side by side are over the top of each other because horizontal's over everything's vertical. We need to flip our eyes. And years from now, no one will take a breath because we've dictated that. The breath makes people lose attention though. You can take a pause. People goMichael Jamin:Done. IJamie Kaler:Can't. He took a breath. I can't.Michael Jamin:Yeah, I mean, here's the thing. So I just had this conversation yesterday. I dropped an audio audiobook, and so some woman said I was doing a live, she goes, oh, I bought your audiobook. I love it, but I listened to it on one and a quarter speed. But I'm like, but when I take a pause, it's because I want to put a pause there. I want to give you a moment to soak it in. It's not arbitrary.Jamie Kaler:I wanted to take a Richard Pryor act from his comedy special and cut all the air out of it. And so you would take a 50 minute, one hour special where there's a groove. He's in the moment. It would be like if you took Buddy Rich and you took all the space between the drum beats out. You're like, a lot of the art is in the space, and we have forgotten that. And now it's like it's a machine gun or people's brains shut off.Michael Jamin:This is something when we're shooting a sitcom, often, we'll tell the actor, make sure you hold for a laugh here. Hold for the laugh. You will get one. Yeah. What do we do about this?Jamie Kaler:Well, I don't know because I was watching, have you watched Show Gun?Michael Jamin:No. Am I supposed to watch that?Jamie Kaler:It's new. It's based on the book. Oh my gosh, it's glorious. I had never read the book. 16 hundreds. Futile Japan, A simple, brutal, vicious life of it's gorgeous. They had a full society. It's like the 16 hundreds. Wait,Michael Jamin:Where am I watching this? What can I get?Jamie Kaler:It's on FX and on Hulu and Portuguese and Portugal and England are the two powerhouses on the earth, and they are at war, and they're basically fighting for ownership of the east, even though the east are, they're like, wait, we're here. No one's going to own us. So it's all about that, but it's just this beautifully, I mean, it's like art. It's like going to the museum, seeing this story unfold, but people's brains nowadays, some do just riddling. 30 seconds of garbage on TikTok will get a gillion times more views than that. Because I talked to somebody who said, Hey, have you seen Shogun? Someone's like, oh, it just seems slow. And I was like, it's one of the greatest stories of all time. It's one of the bestselling books of all time. It's history and gorgeous and art, and it's beautifully shot. And they're like, ah, boring. I don't have time for that crap.Michael Jamin:We have, right? So what do we doJamie Kaler:If everything accelerates? There has to be a point where the human brain, it's like when they go, oh, this TV's 4K, and you're like, dude, I'm in my fifties. I can't even see 5K. I can't see any K anymore. It's like so resolution. It doesn't really matter. At some point your brain can't acceptMichael Jamin:It. Well, worse than that, so my TVs, I have a nice plasma plasma, but it's probably 15 years old at a cost a fortune when I got it. But the new ones, the resolution's so clear, it kind of looks like you're watching a bad TV show. You know what I'm saying? You watch a expensive movie and it looks like it's bad TV because I'm seeing too much.Jamie Kaler:The human face is not supposed to be seen with that much resolution. You see people and you're like, oh, that dude had a rough nightMichael Jamin:Where youJamie Kaler:Used to be able to hide it, and now you're like, no, no, no, no.Michael Jamin:Right? But then now have you had these conversations with your agent and your managers, or is this just when we were talking about building your social media following, are they telling you this or are you just like, your friends are doing it now? I got to do it too.Jamie Kaler:You mean why try to build this? Well, it's also, listen, it's funny because my wife will give me grief sometimes, and she goes, your stories are too slow. Which is crazy because I'm one of the fastest speakers who's ever lived. Sometimes when I'm working, people go, you need to bring it down a little bit. But on social media, if I don't want to sit and take a 92nd video and edit it down to a minute to take out the 30 seconds of pauses, because some guy, but that's the dilemma. Everything's the lowest common denominator. The jokes are I see something that blows up and I go, that was a great joke when George Carlin told that in 1972, and it was really well written and scripted, and now you've kind of bastardized it and you've put it into a ten second with no, your speaking voice is intolerable. But I get it, that's what people want. They're scrolling through and you're like, that's how it works. So I'm also a dinosaur man. It's like my daughters are 10 and they're already do flying through stuff. I mean, I don't know how to stop it.Michael Jamin:Do you know people, I mean, obviously back in the day when you'd go to auditions now everything's you submit. But back in the day, I'm sure you were going to audition and they're the same 10 actors that you would see trying out for the same part. Do you think they're doing the same thing that you're doing building of social media presence?Jamie Kaler:Well, I think you have to. Nowadays, honestly, I see that the social media presence, it is number one, you don't have to go learn how to act. You don't have to learn how to be a standup comic. You don't have to learn these skills and slowly build your way up the top. You do it because you're a personality. People are intrigued, not by people who are, they're intrigued by humans. It's a voyeuristic thing, I think, where people are like, you'll see somebody and they're just talking to camera. They're not even good speakers. There's something off. There's a crazy story. And maybe they've just been doing it for 15 straight years and built up a following and put some money behind it, put some ads, made sure they got some clicks. Maybe they bought a few followers, and you're like, but the craft, the art of what you do as a writer. I mean, is it slowly falling? But that's the problem nowadays with my kids, we just got the report cards and really good grades, but you can see on the standardized test, they're reading is starting to slip because kids don't read. It's too slow for them. Their brain is like, well, they just can't slow. People cannot slow down anymore. And it's Where does it goMichael Jamin:From here? I dunno, but I have to say that. So a lot of this is, I don't think this is coming from producers. I was on a show a few years ago, maybe let's say 10 years ago, and the studio or the network rather wanted us to cast a guy with a big social media following for this role. And I'm like, wait, really? Why? What about an act? Can we just get an actor? This Hollywood? Aren't there actors everywhere? And it's because networks are having a hard time marketing their show. And these people with followings, they can market their own show.Jamie Kaler:Kevin Hart. I mean, I remember something. They were like, well, you're going to post about the movie. And he's like, if you pay me, and they were like, why would we pay you? You're in the movie. He goes, yeah, you paid me for my acting services now you want me to be your publicist. If you want me to publicize this film, you will pay me for it because I accumulated these 50 million followers on my own. Why would I just give it to you?Michael Jamin:But here's where I'm curious about that though. I'm not sure if he doesn't post, I get his point, why should I do the marketing as well? But if he doesn't do the marketing, it'll hurt him for his next movie because it won't perform as well in the box office. You know what I'm saying?Jamie Kaler:Yes. It's a double-edged sword. But I also think he doesn't care.Michael Jamin:HeJamie Kaler:Doesn't care. He doesn't care because he has that following. He will, and they'll put it into the budget. I'm sure the agents and managers are like, all right, so this is his money that you're going to pay him. This is part of the marketing fee you're going to. And listen, I totally understand it. I'm sure I've lost parts because people have gone over to go, his following is not as big as this guy. At the end of the day, could a ton of other people played Polanski? Absolutely. Would they have huge followings? Yes, of course. So I feel lucky anytime I get a job to promote it, I feel like I'm qualified for that job. But I also know it's, you look back at the history of film and Philip Seymour Hoffman died, the five projects he had ready to go, they just replaced him.He's arguably one of the greatest actors of our generation. Nobody missed a beat. So are we all replaceable? Absolutely. Are we lucky to be in the business? Yeah. I mean, I would argue writers are more necessary because you're creating the project to start with. But as an actor, unless you're Daniel Day Lewis or somebody who's that crazy of a craft, then it's about chemistry, I think. Anyway. But you have to, those people are trying to get their films out, and so there's so much white noise on a daily basis that to cut through that, they're like, well, if this guy has 5 million followers and he puts up one post, what they don't see is that only 3% of those 5 million people even see. But thisMichael Jamin:Is where I think the studios and the networks have really screwed up royally, is that they haven't figured out a way to build their own brand. So my wife and I will watch a movie or a TV show, we'll get halfway through it and all the night, we'll say, let's watch the rest tomorrow. Almost all the time. I forget where I watched it, and now I have to search, was it on Netflix? Did I watch it on Amazon? Where did I watch this? Because there's no brand anymore without a brand. They can't market their shows. They have to rely on other me and you to market their shows. It puts us in the driver's seat, not them. This is like a major blunder on their parts, I feel.Jamie Kaler:It's not just them. I'd say standup clubs, back in the day, you did a bunch of shows. You finally put a tape together, you sent it to a club. The club had a following, the club had the following. And you knew if you went to that club, you were going to see Richard, Jenny, Brian Regan, Jerry Seinfeld, you knew these guys. Whatever show you went to, you were going to be surprised, but you'd be like, man, those guys are really funny. Nowadays, the club is literally a rental space that you bring the following to. That's why they book influencers who have millions of followers, and then they get on stage. And I guess some are good and some maybe don't have, it's a different skill levelMichael Jamin:When you go, do you still perform comedy standJamie Kaler:Up? I do. I used to tour a ton before the kids, and I was on the road all the time. And then once the kids were born, I didn't really want to do that as much. So now I stay home. So I kind of cherry pick gigs to go out for. And the road's a lot different, I feel like, than it used to be.Michael Jamin:So do you feel the quality of the standups, they're not quite as good anymore? Some people are, would you sound like old men? Which one is it?Jamie Kaler:Absolutely. And I say that all the time. I'm a dinosaur. But I will say that maybe the skill nowadays is not being a standup comic, but being a social media manipulator. And I mean that it's always been the skill. People used to hire publicists even back then, and I never did. And they'd be in People Magazine and I'd be like, what's the point of all that? And then as I got older, I was like, oh, fame allows you to do the jobs you want to do. That's really the trick. But I mean, to be Tom Cruise, I never wanted that because that dude can't leave his house. He can't just go to the supermarket, can't go to a park. I never wanted that. But that makes him and DiCaprio, those are the guys that are Johnny Greenlight. They get the first choice of scripts. And so they are allowed to do these amazing jobs that because how many people do you think nowadays can sell a picture?Michael Jamin:Oh, yeah. I mean, that's the whole thing. Or can open, I don't know. Do you think it's more or less, I guess I would imagine it's probably less now. I mean, because celebrities changed. What do you think?Jamie Kaler:I think the era of the movie Star is over. IMichael Jamin:Think Tom CruiseJamie Kaler:And Brad Pitt and DiCaprio, are they going to be the end of, and Damon are going to be the end of it? I mean, no. You see one of her on Netflix and it's like a TikTok, Charlie Delio. I haven't seen it. Maybe she's a wonderful actress. I don't know. But you go up through that ranks and all of a sudden you have 12 million followers or whatever, and then you could sell, I mean, it's Kardashian really was, we all gave her grief, but in retrospect, they were the smartest people in the room. They saw it coming to their credit and made a gillion dollars off of it, whether that's what you want to do with your life. But my kids kids want to start a YouTube page and a TikTok, and I'm like, she's 10. She's 10 years old. That'sMichael Jamin:Too soon.Jamie Kaler:Yeah. I mean, can everyone on earth just be, can we keep an economy running if everyone's just an influencer? I don't know.Michael Jamin:Well, there's the big question, right? If everyone's trying to, yeah, IJamie Kaler:Mean, look at what you're doing. You wrote a book, you sat down, probably took quite a while. It's a very good book. Thank you. I've read it and it's like, but the point is, almost everybody's wrote in a book now, and everybody's a standup comic and everyone's a performer. And back when I did it, it was like people were like, oh my God, you do standup. I'm would never do that. I'm terrified now. I'll be it like a supermarket. And some woman's like, some grandma's like, oh, I do stand up every Tuesday night at retirement home. And you're like, it'sMichael Jamin:Not. But I also feel like you're reinventing yourself, though. I mean, that's got to be exciting and interesting. No, orJamie Kaler:Of course it is. Of course it is. I do listen. I love doing it. And everyone else, it's a love hate relationship because I'll think of something immediately, I'll put together a little funny bit that I, it's like a standup bit or something, and then I'll be able to share it with all my fans and they will respond accordingly. And you're like, oh yeah, this actually is a pretty good, I just also think we're the learning curve. We're the first generation to go through all this.Michael Jamin:Wait, let me tell you how I hoard myself out this morning. So I wondered, because I'm posting a lot to promote my book. I'm doing a lot of lives, and I'm like, I see other people do lives, and I'm not sure what that magic is. They're cooking eggs or whatever. Are we watching this person cooking eggs? Is this right? So I'm like, all right. I told my wife, today's pushup day. So I'm like, all right, I guess maybe I'll just do pushups and people will that work. And I did pushups on live and I don't know, 20 people watched. And I was like, I felt kind of stupid about the whole thing, but people were watching, I don't know, is this what I got to do now,Jamie Kaler:Pushups, I fear it is. If that's what you want to do for a living, I think this is, if you want to be in this business, I think that's the necessity of it. To be honest, I'm not sure I would've ever signed up for this if I knew, although when I was younger, I probably would've like, Ugh, I would've been Truman shown the wholeMichael Jamin:Thing, right? But you wouldn't.Jamie Kaler:I do wonder, my kids, I think they were at their friend's house or something, and they Googled me. They told me, and they're getting to that age, and I'm like, uhoh, what did you watch? And they watched some crazy video I did where I said something stupid or whatever. And I don't know if every moment of our lives is supposed to be captured. I don't know what the answer is. I have such a love hate certain days. I wake up and I go, even this morning I was telling you I was writing a bit about something or other. And then another day I'll wake up and I go, I don't want to do any of it. I just want to go golf. And that was the beauty. I became an actor because it was the easiest thing. I worked hard to become a good actor. I took classes, worked on my craft, but I wasn't, I wasn't on 24 7 trying,Michael Jamin:Tell me if you feel this way, because if I don't, I try to post almost every day. And if I take one or two days off, that turns into three or four. You know what I'm saying? It gets easy not to do it.Jamie Kaler:Of course, of course. But do you feel guilty after those two or three days? Do you have any guilt or do you actually go, oh, what am I doing? This feels great.Michael Jamin:Yeah, it is mixed like you're saying, but a lot of it is like, this is my job. This is how you get a book out there. This is how you can, I work so hard not to work. You know what I'm saying?Jamie Kaler:I'm working harder now than I ever did when all those credits were being made. Yeah,I would bust my ass. I would get ready. And also acting is about physicality. I would make sure I was in shape. I'd work out, I'd do all this stuff, and then I would go either do an audition and then there'd be downtime, and you'd be like, all right. All right. And then you'd kind of ramp it up again. Now it's like just constant blinders on of, and then the problem also I see is the follow-up. When you performed on stage, you either got to laugh right then and there, and you moved on. But now my wife, we have long conversations on Instagram as well.Michael Jamin:What does she do? What does she do on Instagram? What does she, I don't even know what does, sheJamie Kaler:Works in the pharmaceutical industry.Michael Jamin:So why is she, oh, I think you told me. Why is she on Instagram? Oh, does she post on Instagram?Jamie Kaler:She posts, but she has her own page, and then so she's very specific about it. She'll edit and quiz me and I go, do you want to hear my, I don't care. Nobody cares. Just post it. But it's like, well, what do you think this picture or this? I go, nobody cares. What song do you think this song? Is this song saying too much about me? Or should I feel like maybe I should use it? Should it just be instrumental? I go, okay, I don't care. The trick is to post and walk away. And then people will, for the rest of the day, scroll, because it's the dopamine of like, oh, so-and-So ooh, did you know? So-and-So just like that post I put up this morning, I don't know where this ends, but I find that some days if I just do something physical where I'm digging in the garden in the backyard, it's the greatest three hours of my life where I'm like, I didn't think about anything. I don't know. I don't know where it ends, but yeah. But we're also too, get off my lawn old guys who are like, why? You might have kids,Michael Jamin:But how much time do you think you put on social media every day, either way that you're working on or thinking of working on it or whatever?Jamie Kaler:Well, so I wasn't really, I never cared. I never cared. It was just recently that I've started to make an effort during the pandemic kind of destroyed me. I stayed with two kids. I had a kindergartner and a second grader, and my wife was working 12 hours a day. We have an office in the house where she was gone. Oh, wow. We didn't see her for 12 hours a, and I think part of it, she was hiding because it was the pandemic. We also having construction done on the house, it was arguably the worst time in my life. So I was trying to maintain the kids. So I printed out schedules. I made them put their school uniforms on. I took two desks. I set them up on opposite ends of the house. They were doing it on Zoom, but one's in kindergarten and one's on second grade.So they weren't old enough to really go. I got it at nine 40. They'd be released for recess. I'd have to get them snacks at 1130. It was lunch at two 50. School ended, and then we were trying to maintain sanity. So I started this kind of parental mental health zoom at night. And obviously we were drinking extensively pandemic mental health, but drinking, it was mental health, and we were sipping hardcore and sharing horrible stories. And so it grew into this. I started this thing called the Dad Lands, and it just grew. It was just Zoom. It wasn't even a podcast or anything. And that kind of caught on. I mean, there were guys, I was like, dude, don't kill yourself. We're going to get through this thing guys. Were hanging on by a thread. And we made ourselves all feel better because we were seeing that everyone else was going through this nightmare.And that eventually grew into the Parents Lounge podcast with my other buddy who was in it. He was doing Dad Apocalypse. I was doing Dad Lands. We started a podcast. I'm not a promoter, so I really love doing the podcast. We were doing it live. You've come and done it. The parents lounge, it's super fun. It's a parental mental health night. I've kind of laid off the sauce since then, and all of a sudden it kind of grew into this thing, but we never marketed it. We would just throw it out there and then the other dude would put it up on iTunes, but we wouldn't even put a post of like, Hey, Dave Ners on this Monday. Nothing. Just threw it in the ocean, because I don't want to be a marketer. I didn't move to Hollywood to be a publicist. It's not what I do.So finally, we're at the crap or get off the pot phase of look, we have a pretty good following, considering we haven't put one ounce of work into the promotional part of it. And so finally, everyone's like, look, dude, you either have to become a promoter or you are wasting your time. You need to monetize. We could do some live gigs here and there, but all of a sudden ruffle came in, Justin ruffle was our partner in this thing. And all of a sudden everyone's like, all right, so I committed. I'm committing to trying like you with a book where I feel like we have a really great product. How do we get people to see it? And you're like, this is the way to do it. So we went out and I enjoy stuff like this where we have conversations and we get in depth on stuff. But as far as just constantly putting up a story with a link to the podcast to do this and stuff, well,Michael Jamin:That you can outsource, that's easy. We'reJamie Kaler:Outsourcing it. And so we finally started outsourcing it, and I hadn't outsourced it at all, but it's like I equate it to the Gold Rush. It's like the people who really got rich during the Gold Rush where Levi Strauss and Woolworth and the guys who sold the Pickaxes. So at some point, I should become the outsource guy or something. But yeah.Michael Jamin:Do you see, okay, what are your aspirations with the show? What would you like it to become, if anything?Jamie Kaler:So I love doing the show. I would love a strong following where we've kind of branched off to do other stuff. But honestly, live shows. We have done a few and we're starting to book more. And then to monetize it to a degree, once you start putting all the work into it, you're like, well, maybe we should at least see something. But theMichael Jamin:Live show, you have to produce, you got to bring in equipment mics, you've got to mix it. No, justJamie Kaler:Literally as comics, we show up. I can't tell you the last time I soundcheck, ohMichael Jamin:Wait, wait,Jamie Kaler:We're doing the podcast live. You're talking about, but we do it as here's the beauty of what we do. We're already standups. That was a headline in comic touring the country. I did Montreal Comedy Festival. I've been on late night tv. So for me, that's the easy part. When I used to do standup, it was never about the show. It was more I would peek out and go, is anybody here? And the smartest guys on earth were s, Agora Rogan, Cher Joe, coy, who not only were great comics, but they were also really good at marketing themselves. And so those guys were doing mailing lists for 30 years and building, and I wasn't. I would go sets went great, crush it, and then go have a couple cocktails at the bar. I didn't have kids either. I didn't really care about trying to blow it up. So it was never about the show. It was about getting eyes on it. And I feel like that's where we're at now. We have such a strong, every time we go do it, we crush live. And the question is, how do we get other parents and people to go? This would be a great show to come to. That's really the marketing part of it.Michael Jamin:The tour as Right? Is it all, so it's improv or is it scripted, or what is theJamie Kaler:Show? We have acts, I have two albums on iTunes.Michael Jamin:Oh, okay. So it's a comedy show show.Jamie Kaler:It's a standup comedy show that the Skis is a podcast, really. And we would bring our guests with us, maybe we talked about having Lemi and Heffernan come out and do the podcast live with those guys, but it would be billed as the parents lounge live with these special guests. But it's really a standup show for the audience with under the guise of a podcast. And we have bits and we would do improvisational stuff set up and questions with the audience, for the guests and for everybody else. But we just did, and we did it in Sara, Pennsylvania in the fall. And it was like two hours of just, I'm not even sure I touched that much of my material. We were, we were riffing hard, but we always had the material to step back on. It's like that's my favorite is you have these tracks, but you get off the tracks, you fool around. And if all of a sudden it starts to lag a little bit, you go, all right, here's some bits and then bring 'em back in.Michael Jamin:You are listening to What the Hell is Michael Jamin talking about? Today's episode is brought to you by my new book, A Paper Orchestra, A collection of True Stories. John Mayer says, it's fantastic. It's multi timal. It runs all levels of the pyramid at the same time. His knockout punches are stinging, sincerity. And Kirks Review says, those who appreciate the power of simple stories to tell us about human nature or who are bewitched by a storyteller who has mastered his craft, will find a delightful collection of vignettes, a lovely anthology that strikes a perfect balance between humor and poignancy. So my podcast is not advertiser supported. I'm not running ads here. So if you'd like to support me or the podcast, come check out my book, go get an ebook or a paperback, or if you really want to treat yourself, check out the audio book. Go to michael jamin.com/book. And now back to our show.I mean, I don't know. I see people doing it online. I'd be doing exactly what you're saying. They take their podcast on the road and somehow, how do you think they're selling tickets though?Jamie Kaler:Because their followings are so strong that people, a lot of times also, I see these shows, and to me, the shows, I go, there's no show here. It's just this guy showed up. It's basically a two hour meet and greet. But honestly, that's what some people love. They don't even care. They just want to be in the same room. The guy will tell a couple stories, they'll play some bits on, they'll play bits on a screen and make it a show and they'll record the podcast live. But people are so enthralled by people chatting, I really missed my window. It really was my strong suit back in the day of just riffing and going along with stuff and being in the moment and chatting. But podcasts wasn't happening. And at the time when podcasts started, I was like, are we going back to radio? Why would people listen to podcasts? I was shocked. And yet offMichael Jamin:They were. But your brand is, you're trying to aim it towards parents or men dads, is that right?Jamie Kaler:Well, it's all parents and no, we've toured with moms. We usually take out moms. We've had Tammy Pesca, Kira svi on the show, Betsy Stover. We just had Nicole Birch. I mean, I think you need a mom's point of view. So when we do live shows, we typically bring out a mom as well with us.Michael Jamin:But you're talking, but is the focus basically on kids and parenting?Jamie Kaler:It is to a degree. But I also, sometimes we'll watch some of those shows and it's like sometimes parents don't want to talk about kids, so we kind of go where we go, and it's about life. The whole thing was trying to get people to understand that you see Instagram and you think your life. You're like, why isn't my life like that? The point of our podcast is really to go, nobody's life like that, dude. I mean, when's the last time you met someone who just was not absolutely full of shit? Have you met anybody who's not just full of shit? Anyone? Well,Michael Jamin:The thing is, especially in Hollywood, a lot of people were trying to hype themselves up. And I discovered early on, this is 30 years ago, that was the people who were talking most about their career really had nothing going on. And the people who didn't talk about it, they didn't talk about specifically, they didn't want people to hit 'em up for a job.Jamie Kaler:Know what I'm saying? And I said that exact 0.2 days ago, I was talking to Lori Kmar and she was just saying the same when I got here, if you were the one who were like, look at me, look at me. People were like, that guy's a loser.It was almost, and then all of a sudden, humble, I blame it on humble brag, humble brag. Do you remember hashtag Humble brag? That was the first one where people, it's really just a brag. You see humble, but you're really just bragging. But back in the day, I remember doing Friends and Will and Grace, and it was big. It was big. And I really didn't tell anybody. People would come in and talk to me and go, dude, were you weren't friends last night. And I was like, I was. And they go, why wouldn't you tell us? And I go, it seems dirty. I felt dirty bragging about what I was doing. But nowadays, if you're not constantly brag, brag, brag, brag, brag. People are like, well, I guess he doesn't have anything to promote.Michael Jamin:Yeah, I remember even just people, I'm in the business, they'll say, so humble to accept this. I'm so humbled to accept this award, whatever, where they might've been in sales or whatever. It's like, but you're using the word humbled wrong. That's not what humbled humble means. You're literally bragging.Jamie Kaler:I feel that way every time when I'm acting and the director goes and cut, that was perfect. We're going to do it again. And I go, you're using the word perfect improperly. Perfect means there's nothing better. I think that's exactly the meaning of perfect. And you're not using it correctly. I knowMichael Jamin:One of the things that I always get, this is my pet peeve about being a writer. You'll turn in a draft of a pilot you've been working on for months, and you just turn it in and then they'll say, great. We're setting up a notes call for Wednesday. Isn't it possible you love it? You know, don't like it? You already know there's something you want change. It's likeJamie Kaler:You didn't even read the title and you're like, I have notes.Michael Jamin:I have notes. Of course you do.Jamie Kaler:Well, listen, if they didn't have notes, they wouldn't have a job. And so I think they're like, well, I mean, we have to find something wrong with this thing. They would get the screenplay for the sting and go, I mean, does the guy have to have a limp? I don't get the Robert Shaw limp. It's like, dude, can you just go, this is pretty great. And also you're not a writer. It's not what you do.Michael Jamin:It's hard to, now you're killing me.Jamie Kaler:I did a show one time, I won't say the name of the show, but I did a show. It didn't go anywhere, but my character is a car salesman. I see these two guys come into the showroom and I want to sell them a car, and I think they're gay, so I pretend to be gay. This is of course, back in the time when I guess you could do that without being canceled. So I act gay to them to get them to buy the car, and we're going to be friends and stuff. And at the end of the episode, my character then kisses a woman who's another salesperson as the reveal. He's not gay. He was doing it to do that, whatever. So all week, all week, the studio execs keep coming over and they go, dude, you got to gay it up. You got to amp it up. We are not getting the joke. You have to play this extremely gay. And then they would walk away and the showrunner would walk over and go, dude, I want you to play it dead straight. I don't want you to play gay whatsoever. So after every take two people kept coming over, giving me completely opposite notes, and I didn't know who.Michael Jamin:Wait, I a little, go ahead, finish your story because I want toJamie Kaler:Jump on it. So I'm in the middle. I'm doing it. I'm not pleasing either of them, right? I'm right in the middle of guess, maybe a little after. I don't know. And I have played gay characters numerous times in tv, and usually I don't do anything. It doesn't have to be that way. And so I would play it dead straight. And so the show goes, it's a train wreck of a week. I'm just getting eviscerated on both sides of like, I'm not pleasing anybody because I'm trying to ride the line in the middle of between these 2 180 degree notes, whatever. It's a train wreck. We finished the shoot, I'm miserable. I run into the showrunner maybe three months later and he tells me, oh, he goes, Hey, just so you know, when you do watch it, we were running long for time. So we cut the tag.I go, you mean the reveal where I kissed the woman? He goes, yeah, we ran out of time and we cut it. I go, then everything I did up to that moment has no justification whatsoever. I goes, this is the craziest thing. He goes, I know. He goes, what are you going to do? It's tv. I go, all right, whatever. And I moved on and I was like, couldn't care less. But you're like, again, art, you wrote something. Your brain had this beautiful story you wanted to unfold. And then commerce and everybody has to prove that they're part of the mix and they can't be hands on.Michael Jamin:I'm very surprised that you got notes directly from a studio executive. That's inappropriate. They're supposed to go through the director. IJamie Kaler:Thought the exact same thing. And people, it's not how it worked. They came right up to me. Oh, I've had that many times. I've had studio people talk to me all the time. Yeah, well, also, I wasn't a star. I was a guest.Michael Jamin:Yeah, but still you're not, first of all, the DGA can file a grievance over that if they were to complain the DGA, I think that's part of the thing. But here's how I would've, if I were you, this is what I would've done. I would've done one take over the top and one place straight. Okay, I'm going to do two different takes, two different. And you decide later which one you want to use.Jamie Kaler:I think I did do that to some degree. I don't think I said it out loud about you have fun and edit, and also you as a guest star. It's the greatest job, but it's also the worst job. It is. These people have been locked and loaded. I did friends the week I did it, they were on the cover of Rolling Stone. They'd been burned in the press when they spoke. They weren't outwardly mean to me, but they also weren't like, Hey, welcome to the, they spoke to each other in hushed tones away from, and I didn't blame them. They couldn't go to a supermarket. They were just famous beyond belief. But the set was tense, super tense because a lot riding, not a lot of money on this thing. The shoot was eight hours long after four, they got rid of the first audience, brought a whole nother audience in, and you start to watch the sausage get made and you're like, this is supposed to be fun and comedy, but sometimes these things are super tense.Michael Jamin:Yeah, yeah. So interesting. Do you have any experiences that were great sets that you love working on?Jamie Kaler:So many and listen, even that set the cast was great and friends was great. It was here was the greatest thing about doing friends, or even honestly Will and Grace. I watched Will and Grace, I watched the four of them. Dude, they were a machine combined with the writing staff and Jim Burrows directing. It was like a masterclass, the four of them. And they would rewrite on the fly, they'd do one take and almost rewrite the entire scene. And then you would, they'd go, Jamie, here's your new lines. And I did six episodes over the years and each time I went back it was like, you better bring your A game. Because they would change the whole scene. And they go, so you enter here now you say this and then he's going to say this and you're going to go and you're playing spinning at the four of them. Man, they were honestly maybe the best cast I've ever seen. Really. It was like a Marks Brothers. They just were so perfect in their timing. It was pretty impressive.Michael Jamin:I had Max Nik on my podcast a few weeks ago talking the showrunner. The funny thing is I was touring colleges with my daughter years ago, not that long ago, whatever. We were touring Emerson. And the tour guy goes, oh, and this is the Max Munic building. He goes, anyone know who he is? I'm like, max gave you a building. Yeah. Does anyone know who he is?Jamie Kaler:They were both great. And again, I was overwhelmed because I was so new. And my very first one, gene Wilder, played the boss. I'm the dick in Will's law firm, and I had only done a sitcom or two. And then I got Will and Grace out of nowhere on a crazy afternoon. It was supposed to be another big name guy. And he fell out at the last second. And I got cast and was shooting in the morning and I was terrified. And then I show up in Gene Wilders playing my boss, and I had to do a scene with Willy Wonka. I was like,Michael Jamin:No kidding.Jamie Kaler:By the way, I didn't start acting until I was 30. I was a Navy lieutenant.Michael Jamin:Oh,Jamie Kaler:Really? I was the US Navy. Yeah. That's why I played cops a lot. I was a Navy lieutenant. I got out at like 28. I hung around San Diego. Bartended had fun.Michael Jamin:Why did you get it so early? I think you're supposed to stay in forever and get a great pension.Jamie Kaler:Oh my God. It's like I'm talking to my father. My father banged me. I still have the letters. He and I wrote back and forth where I told him I was getting out and he was so pissedMichael Jamin:BecauseJamie Kaler:He was a pilot. My dad flew in World War ii, my brother was an admiral, and I got out to become an actor, and my father was just furious.Michael Jamin:Whatcha doing? You can one time.Jamie Kaler:Then I booked Jag. One of my first TV shows was, well actually my first show was Renegade with Lorenzo Alamas and Bobby Six Killer though, whatever his name is.Michael Jamin:I know I'm jumping around, but did you know Kevin and Steve before you got booked on? Yes. Yes you did. From whatJamie Kaler:I had done, we bumped into each other once a couple times doing standup. I was doing Thema or something, and then I forget how it's all blurry. I did their podcast, chewing it, and then just kind of hit it off with them. And then they came and did mine. And you talk about sets My boys was my greatest four years of my life. It was just, I met my wife, I bought a house. I was on a billboard on Times Square. We traveled the world. We shot on Wrigley Field in Chicago. I mean, it was glorious. Because of that, I started a headline clubs. It was just this like, oh, here we go. And it wasn't until Tacoma FD where I was on a set where, oh, people came early, people stayed late. You were almost going. It was like it brought you back. A kid being going to theater camp, going, well, here, I'm making a show. But again, as you know, it goes by the eps and number one on the call sheet and that dictates the tenor of the show tone. And they wereMichael Jamin:Both the same. Yeah,Jamie Kaler:Yeah. And those guys, that sets a family, literally everybody. And that's why you also have to be really careful. You can't say anything because everybody's related to everybody and they're all friends. And then Soder came and played Wolf Boykins. And I will tell you, I was super, I love those guys. But there's also a little jealousy of, I've always been a team sport guy. I love Sketch probably more than I like standup because there was something about being on stage with other humans and this chemistry. And then you would get off stage and you're like, can you believe how great that just went? There was this, when you would do standup, it's just you. And when you walk off stage, if you bomb or you crush, you own it. But when you are with a group, I love the group dynamics. Interesting to those guys credit the whole broken lizard.I wish I had the state. I'm jealous of those guys a little bit. Kids in the hall, when I first got out, I had an improv group in San Diego and we ended up doing, we got on the front page. I had been out of the Navy like a year. It was in this crazy improv troop, had no idea what I was doing. And there was three other dudes in it. And the comedy club, the improv, started to hire us to be the feature act. And we would get up. We had no mic, so we'd kind of eat it and then the headliner would come out and go, what the blank was that jackasses? And then do his standup act. But I always wanted that group. You have a comedy partner, you write, you partner. I like that more than the solitary thing. And honestly, to go back to the podcast really quickly, the parents lounge, we didn't have a team.We had no team. And so it wasn't until I brought Phil Hudson and Kevin Lewandowski and then Justin Ruppel and his guy Taylor. And all of a sudden I had a group of people behind me who were like, Hey man, this is a really great product. Let's go. So I guess I'm just a team guy. And when I got to that set at Tacoma fd, I'm so sad it's gone because I just, that and my boys are probably the two highlights of my career, really, personally of joy, of going to work, not feeling pressure like Man Will and Grace. It was fun. It was invigorating, it was exciting, scary. It's a little scary, man. You're like a lot of money. There's a huge audience. There's superstars who are making a million dollars a week. I'd leave the table read and go, that dude just walked with 200 k Monday.Thank you. Monday, 200 K what it must be, same on basketball teams where it's like LeBron James and then that dude from Australia. There's a dynamic there where you're like, yeah, you're not flying home in a jet, my friend. I am. It was weird. So Tacoma fd, those guys never once ever made you feel bad about trying stuff, doing a take where you just explore and you could be funny and you let it rip. I equate it back to Seinfeld. I don't know what it was like on the set, but Seinfeld was one of the few shows where they let the guest stars actually get sometimes bigger laughs than the main cast, which I always find in shows to be the true genius of a show where everyone's there, it's a play. Let it rip. I've been on shows where they, I'll blow it up. I was on the seventies show and I had a couple scenes, and I played this goofy guy with a wig on or whatever, and crushed. I mean, I was a nerd. I was a comic book nerd. Huge laughs. And they took me aside and were like, Hey man, just so you know, you will never get a bigger laugh than the main cast,So you might want to tone it down or we're going to be here all day shooting. And I go, really? And they go, I thought they were joking. And they were like, nah. Yeah. Wow. I probably shouldn't say I'm the worst too. I'll burn myself to say stuff. Well, it's interesting. This business is crazy, man. And you sit there and you think we're just making comedy, but people are,Michael Jamin:Yeah, some people are like that.Jamie Kaler:Yeah. People get their feelings hurt. Those little memos where it's like, don't look so and so in the eye. And you think they're joking. They're not joking.Michael Jamin:You've gotten those memos.Jamie Kaler:I haven't personally. Well, I worked on some big movies where it was like, but I also am not the crazy person who walks up to Christian Bale on Vice and goes, Hey man, dark Knight. Huh? You crushedMichael Jamin:It.Jamie Kaler:I sat next to Christian Bale for a day shooting and he was Dick Cheney unrecognizable. By theMichael Jamin:Way, this guy might be theJamie Kaler:Greatest actor who's ever lived. And he leaned over and he was so nice. Everyone was super kind, but he was nice to meet you. And he talked like Dick Cheney. He goes, nice to meet you. I'm Christian. I go, it's nice to meet you too. But I'm kind of laid back and I try not to, but other people will walk up to Bruce Willis on a set some extra and be like, Hey man, can you read my screenplay? And you're like, dude, read the room. What are you doing?Michael Jamin:What are you doing? What are you doing? PeopleJamie Kaler:Are crazy. That's the problem. And crazy people are drawn to this business. So yeah, I mean, if I was Tom Cruise, I might be the guy who look, just keep everyone away from me. I'm trying to get my job done here.Michael Jamin:Well, you know what though? I mean, I was working in Paramount doing a show and they were shooting, I guess some scenes from Mission Impossible. And he had his trailer, Tom Cruise had his trailer, a giant trailer, and then he had a whole tunnel that he would walk through from his trailer to go to the sound stage because he didn't want people in on the lot looking at him when he walked to the set or bothering him, I don't know. Which I thought was very strange. I was like, but we're all even on Paramount in the business. I guess were bothering would harass him. I'm like, Jesus, this is supposed to be a set studioJamie Kaler:People. And it's even worse now. You go to a broad, remember when people dressed up to go to Vegas? I remember going to Vegas in the eighties and nineties and we brought a sport coat right now it's like cargo shorts, flip flops and beer hat or something. And you're like, there's just no decorum anymore. And people are so, and they're trained by their videos that they can yell and do whatever they want. People go to Broadway shows and just yell out and you're like, what are you doing, man? It's a plane. WhatchaMichael Jamin:Yeah? What are you doing? PeopleJamie Kaler:Are horrible. I know when people, I always laugh when people are like, no, I think deep down people are good. Some, I would argue a good hunk not no have no manners.Michael Jamin:That's probably a remnant from social media where they feel like they can just comment and be mean because they're anonymous, I guess.Jamie Kaler:Well, I think the good thing about social media is that everyone can have their opinion heard. But the worst thing about social media is that everyone can have their opinion heard. Yeah.Michael Jamin:Yeah.Jamie Kaler:I love when people like they're uneducated. They've never left their small town America. And they're like, no, no, I am 100% certain this is a fact. And you're like,Michael Jamin:Yeah,Jamie Kaler:When's the last time anyone has said you've raised some really strong points. I'm going to rethink my position.Michael Jamin:When you do see that, it always stands out to me. It's like, wow, look at you and humble. It does stand out. We'll doJamie Kaler:That. Listen, we're all guilty of it. Even just recently, my wife said something to me, I can't remember exactly what it was, and I think your spouse is the one who can really cut you to the bone. And she said something and I was like, what do you know? And then later I thought about it and I was like, no, she's right. I have been, oh, here's what she said. Here's what she said, something about a post I had. And she said, you just come off angry. And I said, no, no. I'm a comic. I'm pretending to be angry. And I think I went back and I watched the Post and it reminded me back to early on at Acme Comedy Theater, I had this sketch where I was with woman and we were on a date, and it was very Jerry Lewis props humor where I kept getting hurt.I kept getting hurt. The window smashes in my hand, it ends by me lighting a candle and I actually lit my arm on fire and then would roll it out as the lights came down or whatever, and it crushed. It did so well. And one night it just absolutely bombed, just bombed. And I kept pushing harder and harder and it was bombing, and I got off stage and I talked to the director and I was like, dude, terrible audience. Tonight goes, no, no. He goes, your problem was you didn't play frustrated, you played and it didn't work. And I go, what a specific note. And I've always thought about that because me personally with my angular features, you have to go with what you look like as well. And if I play frustrated, I'm super funny, but if I play angry, I come off angry. And so she was right and I had to go. I think maybe in life everybody needs a director because you forget. It's really hard to self-direct yourself because you get lost in these megaphones of your own things that you're like, no, no, I'm on track. This is going great. Instead of going, I wonder how the outside world perceives me.Michael Jamin:That's exactly right. Yeah. When I recorded the audio book for my book, I needed to be directed. Even though I direct, I don't know how I'm coming off. Yeah, I mean that's actually probably the most profound thing I've heard today. Well, the day just started, but everyone needs to have a director.Jamie Kaler:Yeah, it is kind of crazy. Yeah, it's weird because we also get caught up in our own, listen, I will say the world is, and I know I'm an older cat and I look back at simpler time. I don't want to be that guy. I was like, it was easier, but it was easier. I equate it to even crosswalks lately when you were younger, if you were going to take that right turn and the dude was crossing the crosswalk, everyone would make eye contact and they'd hold their hand up and then they might even jog a couple steps to go like, no, no, we're in this together. We're a team. No. And nowadays I go, dude, are you trying to get hit by a car? You didn't even look up? Didn't even look up deliberately, and it feels like you're slowing your walk down. It's so odd what's happening. But I do think, listen, back in the day, people used to, if you were in front of somebody's house and you were waiting for them, you'd pull your car over and slide it up, maybe a few cars up. Now they just put it right in the middle of the street, hit their hazard lights and just wait. And you'll be behind them and they go, I don't care. I don't even know why they sell cars with rear view mirrors. They should just get rid of it. No one's looking behind them. Nobody cares about anybodyMichael Jamin:Else. That's so interesting. Yeah, I mean, you're right about that lot people crossing the, I always think that, boy, you really are trusting of me. You really trust me not to hit you with my car. Jesus. Isn't thatJamie Kaler:Crazy?Michael Jamin:Yeah, sure you get a payday, but I might kill you.Jamie Kaler:I think it was safer back then too because you knew, listen back in those days, you knew to be off the road between 10:00 PM and 2:00 AM when everyone was drunk. Right. You knew it and everyone was like, oh, drunk driving was terrible. Nowadays, 10:00 AM yesterday morning the dude next to me getting high on his phone, so now it's like twenty four seven. That's why I can't believe people, I never crossed the street without making eye contact and going, dude, are you on your phone or are you going to hit me?Michael Jamin:Yeah, you got to look for yourself.Jamie Kaler:Exactly. But again, I'm old, so what do I know? It is weird trying to teach my kids and I mean, we've talked because your kid's a little older, but trying to impart knowledge of the world to them to be aware of their surroundings. I always say they're probably years from now, they'll go, like my father always said, read the court. You got to have full court vision. I see it in cars. My wife will be behind one car and I'll go, you can't see that three cars up. That dude stopped. You are changing lanes. I'm looking five cars ahead.Michael Jamin:ButJamie Kaler:People nowadays, it's just this one little, they just keep their heads down and you're like, pick your head up, man. But people don't.Michael Jamin:Yeah, be careful. I need to know. So I want to know business right now I'm jumping around, but business is still slow for you in terms of acting gigs because from what I see, they're not shooting a lot. Is that what you were seeing?Jamie Kaler:That is true, and I've had a handful of amazing auditions lately. Oh, you have? Okay. So yeah, a ton. Not a ton, but here's the dilemma is they're all self-tapes, right? And I'm pretty good at self-tapes. You can see there's the lights behind me. There's a curtain right above me that comes down, and then I shoot it that way and they're pretty great. And I'm again about trying to be directed. I've asked my agents and my managers and been like, Hey, am I self taping these? Right? And they're like, dude, your self tapes are solid, but even there's no feedback. And I do think back in the day, I got a lot of jobs because I was great in the room. I was probably better in the room than I was as an actor. You could take it. I would get hired because a lot of acting is chemistry, and you want to see that the person you're working with is going to be cool and able to hang and alsoMichael Jamin:Take a note. Can you take a note?Jamie Kaler:It's so funny you say that, dude. So lately I was, for a while I was just putting the one take on where I was like, this is how I see this part. But this one I had the other day, it was so good, dude. It was handsome. Adjacent was the breakdown, which I was like, all right, because I've always been, I'm lumberjack good looks. I'm like, I know I've walked into rooms, I've seen Brad Pitt in a room, and I've been like, yeah, that's beautiful. I'm a little al dente. That guy is so gorgeous. I'm on the cover of a paper towel roll. I get it. I know. I'm Portland. I'm Portland. I'm a Portland 10. Portland. I'm a Portland nine maybe. So it's handsome adjacent, early fifties jerk cop. I go, dude, this should be offer only. Why am I reading for this?Michael Jamin:Right?Jamie Kaler:So I did the first take. I submitted one where I was like, more Tacoma fd, I was. I go, well, maybe that's why I got in here. They know me from that. And then I was going to just submit that one and I said, you know what? Because you can't go in a room, dude, the casting directors are so good that I've had the pleasure to work with Wendy O'Brien who did that one is one of my faves. She'll give you notes that will kind of give you a nuanced performance where you're going, oh, I see the change. Yes, yes, yes, yes. Because hard. And so I did a totally separate take. I had a friend over here and I did another take that was so the opposite extreme of he wasn't big at all. He was very underplayed in tone. And when I sent them in, my agent said, he goes really great that you did two separate takes.And I said to him, it's a new show. I've never seen it. I don't know what the tone is. There's no direction. You're literally reading this hoping that your take jives with the guys who are going to hopefully see this tape or not. I don't know. And I also submitted it. The audition came out on Monday. It was due Thursday. I memorized it submitted on Tuesday. The other thing they tell you, they go early, bird gets the worms. So the business has changed so much. You're working really hard to pump these things out, but you're like, is anyone seeing any of it? It would be nice if somebody once just called and was like, Hey man, you're not getting it, but I got to tell you, you did a really good job, man. You what you get in a room or if sometimes you don't, sometimes. Yeah.Michael Jamin:So interesting. The life of an actor. So what is left for you as you wrap up, what is left for you today? What does your day look like today, an average day for you?Jamie Kaler:So we are relaunching the podcast. We have an advertiser that's just come on board. We are currently on Buzzsprout, but we're going to jump to megaphone and we're actually, we're still doing the live ones on Tuesday nights 7:00 PM Pacific Time. It's on right now. It's everywhere. Facebook, Instagram, Twitch, YouTube, it goes out live. We're going to slowly bring that back in and we are jumping to Patreon. So come find us. The parents lounge on Patreon, and then we are, so we're doing all the marketing right now, and then I'm still working with the same guys you work with who have been eyeopening. It's like a master's class in this business of social media about getting people on. Because again, I feel like we have a really solid product that people not onl

Thursdays are for the BABES!!! This week the babes celebrate Valentine's Day by showing their love for Ed Burns, discussing Richard Dreyfuss on Bill Maher's podcast, and Sal phones a friend for a San Diego dinner recommendaysh. Support our sponsors to support the show! Robinhood - robinhood.com/boost ButcherBox - Sign up today at butcherbox.com/heybabe and use code HEYBABE to choose your free offer and get $20 off Better Help - Sal and Chris present: Hey Babe! is sponsored by BetterHelp visit BetterHelp.com/HEYBABE to get 10% off your first month Rocket Money - Stop wasting money on things you don't use. Cancel your unwanted subscriptions by going to RocketMoney.com/HEYBABE Learn more about your ad choices. Visit megaphone.fm/adchoices

Evan and Pat target some sleeper teams in prep hockey for the Elite 8, then recap which teams stood out in the Ed Burns Tournament. 

We all struggle with our sins, and the thought of our mistakes can cause us to feel far away from God. In this sermon, Pastor Ed talks about King David and why Matthew includes David's mistakes in his book. He breaks down the decisions David made and how God humbled him. He talks about the certainty of God's promises, and how no matter what we do, God keeps His promises to His people. Why does God pursue us, even when we disobey Him? Listen to learn more! Thanks for listening! LAKEVIEW MISSIONARY CHURCH, 810 S. Evergreen Dr., Moses Lake, WA 98837, 509-765-5270, www.LakeviewMissionaryChurch.com Pastor Christopher sends a weekly update to our church every Wednesday with an encouraging article, prayer requests, and announcements. Subscribe here, http://eepurl.com/hC7SHD Scripture taken from the New American Standard Bible, Copyright The Lockman Foundation 1960, 1962, 1963, 1968, 1971, 1972, 1973, 1975, 1977, 1995. Used by permission.

Ed Burns is the CEO of Burns Logisitcs.  Burns Logistics is the #1 solution provider in the industry. Big Ed and his team are here to help you find the relationships you need to thrive. The transportation industry can be mired in complications and difficulties. Burns Logistics Solutions will help you find solutions by simplifying it into one word: relationships. Put our stellar network to work for you and your company, whether you are a shipper or carrier, or somewhere in between. To learn more about becoming a Freight Agent: https://spi3pl.com/ To learn more about Denim: https://www.denim.com/ To learn more about Tai Software: https://tai-software.com/request-demo/ Ditch your carrier packet, Drive more carrier sales and get better load coverage with seamless digital onboarding, TMS integration, and smart load coverage, visit: https://brokercarrier.com/

We all have a nickname, whether other people know it or not. We all struggle with our sin, but how is our sin, and the world's, the key point to the Christmas story? In this sermon, Pastor Ed Burns talks about the lineage of Jesus again, but this time he focuses on the person Rahab. She was known as having a checkered past and a complicated, scandalous job. In her story, she helped God's people defeat the city of Jerico, and later ended up being the mother of Boaz, the great grandfather of King David. How did God use troubled, sinful people to bring his son into the world? Listen to learn more! Thanks for listening! LAKEVIEW MISSIONARY CHURCH, 810 S. Evergreen Dr., Moses Lake, WA 98837, 509-765-5270, www.LakeviewMissionaryChurch.com Pastor Christopher sends a weekly update to our church every Wednesday with an encouraging article, prayer requests, and announcements. Subscribe here, http://eepurl.com/hC7SHD Scripture taken from the New American Standard Bible, Copyright The Lockman Foundation 1960, 1962, 1963, 1968, 1971, 1972, 1973, 1975, 1977, 1995. Used by permission.

An airhacks.fm conversation with Bruno Souza (@brjavaman) about: Bruno previously on airhacks.fm "#222 Xmas with the Brazilian JavaMan", The Talent Code book, no geniuses, only smart work, episode with Gerrit Grunwald "#268 How Han Solo wrote SteelSeries", making projects successful, xmas meal: rabanada, panettone, working to solve problems, outsourcing vs. AI generated code, continuous feedback loop, an episode with Ed Burns: "#171 Java, Jakarta EE and MicroProfile on Azure", growing beyond senior, Java vs. python, java for task automation, the quarkus Club discord channel, the Java User Group tour, Generative AI, ChatGPT and the future of programming, Developer Career Masterplan book Bruno Souza on twitter: @brjavaman

We were blessed to have retired Pastor Ed Burns fill in while Pastor Christopher unable to be here. In this sermon, he talks about the genealogy of Jesus Christ and the types of people He is descended from, specifically the person Judah. He breaks down the type of person Judah was, and the many decisions he made that we in contradiction to righteousness. Finally, Ed shares with us the meaning of Christmas, and the immense mercy God freely gives to all sinners, and how He uses sinners for His plans. Thanks for listening! LAKEVIEW MISSIONARY CHURCH, 810 S. Evergreen Dr., Moses Lake, WA 98837, 509-765-5270, www.LakeviewMissionaryChurch.com Pastor Christopher sends a weekly update to our church every Wednesday with an encouraging article, prayer requests, and announcements. Subscribe here, http://eepurl.com/hC7SHD Scripture taken from the New American Standard Bible, Copyright The Lockman Foundation 1960, 1962, 1963, 1968, 1971, 1972, 1973, 1975, 1977, 1995. Used by permission.

Jesse Starcher and Mark Radulich present their The Plot Against America Miniseries 2020 Review!The Plot Against America is an American alternate history drama television miniseries created and written by David Simon and Ed Burns, based on the 2004 novel of the same name by Philip Roth, that aired on HBO from March 16, 2020, to April 20, 2020.The Plot Against America imagines an alternate American history told through the eyes of a working-class Jewish family in Newark, New Jersey, as they watch the political rise of Charles Lindbergh, an aviator-hero and xenophobic populist, who becomes president and turns the nation toward fascism.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsoFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulich

Free Masterclass About Maribeth Fox: Maribeth Fox has worked with Laura Rosenthal Casting for fifteen years and has had the privilege of working alongside major talents like Todd Haynes, Paolo Sorrentino, Oren Moverman, Joachim Trier, Ed Burns, Mindy Kaling, Anton Corbijn, and Lisa Cholodenko as well as up and coming feature directors, Guy Nattiv, Olivia Newman, & Paul Downs Colaizzo. Favorite credits include Olive Kitteridge and Mildred Pierce both for HBO, Jay-Z's music video for Smile, Wonderstruck with Todd Haynes, A Quiet Place, Modern Love for Amazon and Liz Garbus' narrative feature debut, Lost Girls. Two of her three films at the 2018 Sundance Film Festival broke sales records, Late Night and Brittany Runs A Marathon. Most recent credits include Sharper for Apple TV, directed by Benjamin Caron, Bottoms, produced by Elizabeth Banks, Murder Mystery 2 with Happy Madison, and the upcoming A Different Man from Killer Films and A24. How did you become a casting director? I learned how to work with actors, what they need you to tell them, and what they don't need you to tell them about ego. And I just decided to spend five to seven minutes with actors instead of a career with them. So I switched to casting, and I worked for CBS primetime casting for two and a half years, which was a really good learning experience, but corporate wasn't for me. I wanted to do more film, and I wanted to be freelance so my eight-week job with Laura turned into 16 years. How does a casting director get a film job? So oftentimes, we are one of the first people hired and production companies hire us, producers that know us, that know what The material is that we're drawn to. Sometimes we're hired by our directors who you hope to get repeat business if you've worked with them before. The first thing we'll do is read a script to make sure we're creatively aligned and feel like we strategically know how to cast the job. And then we're offered one of two situations. The first situation is. Attach names to this to green-light the rest of the financing. So we do that side, and then sometimes people come attached to a film, which is wonderful news. And they're like, “We just want you to cast this movie if you like it. And this is who's doing it.” So we're normally found by producers and directors, and we're one of the first hires. So, just a question I have: if you are asked to attach a name talent, and let's say it's one part, let's make this real simple, Sure. How long does it generally take to cast a film, would you say, to attach that kind of name talent if it's a good script? It's a long time. It's a long time, so much so that Laura has received producorial credit on quite a few of her features because of the time, attention, and effort it takes to get those attachments in place. You think about somebody, let's say you're offering something to somebody like Julianne Moore. It could take a month for her to read it. Not because she doesn't read quickly but she's got a lot going on. And somebody of that ilk, their whole team, has to read it. She has to read it. Everybody has to have an opinion. They have to have a discussion about it. And so we try our best to set respectful boundaries with agents and managers to say, “We really need this to be read by this time.” But if a creative team is invested in a certain person, oftentimes, that deadline will stretch. So you could be with one actor for a month or more. We try to get them sometimes to line up like their top three for each part if we're doing more than one part so that if there is a pass, it's not an utterly crushing situation. The producers knew that a writer strike was imminent, and I was a little shocked to hear what you said, that you stopped getting calls about six months before. Can you talk about that and what that was like? It's helpful to know just in terms of our similarity to what actors go through that a lot of our business is independent film and that really continued. That was not a problem. We were still getting calls. We were still getting pings for that, but in terms of the book of business that would streamers and network, which is a lot of people's businesses, they anticipated the strike. And normally, we have no shortage of things to read, think about, sign on to, or not sign on to. And I think all casting directors experienced a similar shut-off. That was very different than the strike in 2008 where we were out of work for a little while, but no big deal. But yes, like the work has been. It's been different this time around. How has it been different, do you feel? So I think a lot of people feel, there's a lot of feelings this time around. Where, as there should be, right? I obviously heartily support the actors and what they're going through, and it's, it's time, right? It's time to do this and ensure everybody gets what they're owed fairly. And also, I think there is, within the SAG interim agreement, there's some stuff where I think we all need to work together in community to understand what everybody does and what everybody is going through and maybe have a little bit of empathy and open conversation and understanding because right now, it has felt a little bit of an angrier time and I understand it. Also, It's hard to think about what life will be like after the strike ends, and I don't know. I think a backlog of projects stopped right before the strike or started to shoot, not believing the strike would fully happen. And those are the things that are going to start to go first. And those things are already crewed up. So, from my perspective, could it be an influx of new work? Maybe. I sure hope so. But also, we have to think about all the stuff that got interim agreements is stuff that mostly was already staffed. And so I wonder how much the huge influx, or if it's just going to be figuring out what's actually going to shoot now and what's going to be put to the side. The great news is that I think you're right about the flood. And actors will feel it. And start to work and self-tape again. And hopefully, it'll get back to business as usual. And I think what's very important for actors to understand is it's not only you who is on strike, it's everybody. I'm so proud to stand with the actors that I love and support in my day to day. And absolutely, we are with you a thousand percent. And also, it's real, right? Many people have turned to survival jobs that they haven't had since they were 22. Everybody's done. Employment is out. And you live in an industry town, so every business is thoroughly affected by the lack of availability of income for people. The actors are the ones who are fighting and are going to get the benefits but do remember when you get on the set, there were a bunch of other people who were fighting right along with you, who are not going to get necessarily, the benefits that you were fighting for. They were supporting you, but the hairdressers aren't going to get any more pay, or hair stylists, the grips aren't going to get anything. I think that AI is an existential crisis for actors, and I don't think that is something I cannot give up my voice and my likeness and have you pay me once and that be okay, so I do think it's a worthy fight and as you said, it's a definite fight. I also think it's in the forefront of what humanity will be dealing with. Bartenders will be dealing with it, taxi drivers will be dealing with it, it just has come. Not here first, but here. We don't do any background casting, and I don't know what that life is. But I do think about that entire loss of an industry. That will go first, right? And it already has started to go. They take your picture; they can pump you in if they need an arena full of people. I've had many family and friends during this time try to like talk in a fun way about chat GPT and those types of services. And they're like, have you played around with it? I'm like, no, I don't want to help it get smarter. And I think it will have real ramifications, and it already is having ramifications for our industry. No, I'm not going to hang out on that service, but thank you so much for asking. What do you want actors to know [00:18:00] about self-tapes? So many things. The first thing is it's a grocery store sample. If you're at Costco, yep, that's exactly right. If you're at Costco and the old woman is serving you pizza, you're not going to steal the whole pizza. You're going to take your sample of a square. We do not expect a fully baked moment for a self-tape. I think artists are artists, and folks are getting bored. And so there's a lot of Heavy wardrobe, heavy movement choice the ability and the time to make almost like a short film. It's not the job. A self-tape should look different than how you would behave if you're on a set with a DP. I think the other thing that I've noticed that I've started to see as self-taping goes on and on, as a public service announcement for actors, is... You're getting too good at them, and I'm going to explain more. I think actors are really great at self-taping now, and it can almost feel robotic at times. Because they've gotten so good at knowing and thinking about, their mentality has shifted from what I want to put forward as an artist that's unique to how can I get this job by thinking about what they might want. And so then they know what pace to do. They know what tone it is. They've done their research and all of those brave, bold choices start to get ironed out and it's safe acting work. It's still beautiful work, but it's safe because they're so good at it. They know exactly what they might want instead of infusing their own artistic uniqueness in the mix. And I think casting directors hear the plight of actors, and I think something great that's going to come out of the strike is, I think there's going to be more options offered. So some actors love the self-tape process and bless, please, if that's how you feel comfortable, wonderful. I will still take time to adjust you via Zoom. If you need an adjustment, if I get your self-tape and there's something close to there, I will still take time for you on Zoom and say, hey, and we'll workshop it together. But then there's, we really do hear actors that they want more of us again. I do think that in-person chem reads and callbacks will start to come back. In the meantime, I think casting directors are far more open to reopening Zoom rooms, to make sure that we're available in some tech-helpful live way so that we can make better connections with actors. I still get lovely, vibrant self-tapes on everything that I do. But generally, I think, there's a mindset that I've been thinking a lot about that actors carry that is, I think trained into a lot of people that it's just a scarcity mindset. And so you come out of school and you're told that your job is so hard. There are so many people competing. You're in constant competition. There's not a ton to go around. SAG releases their statistics that only 3 percent of actors are working. And it creates this mindset that can be helpfully hungry and eager. And it can also really destroy the artistic spirit of what an artist has to offer. I think within that scarcity mindset, the goal of this is how I feed my family. This is how I gain health insurance, pension, and welfare. And I can't make that brave, bold choice because we don't have a casting director anymore. You don't have us in the room to be like, “Okay, let's just do that a little bit faster here. I know the director wants this. Let's just clip it up.” Or give you a simple redirect that could really change your performance. Now, a lot of us are doing that. We are adjusting people who give great self-tapes. Actors feel like I've got one shot at this. I'm sending it off into the void. It better be exactly what I think they want. The one thing that I have always stood by is that it's one audition in a lifetime of auditions. I am going to get the opportunity to audition again, and there is enough work for everyone. What's important for me is what's going on in the work. People ask me, “what do you look for in an actor?” And I'm like I'm looking for the actor who shows up a bit early, not too early. Knows they are, knows themselves. They are good at their job and I'm also looking for someone who when the work starts, they're focused on the work and not what I think of their work. Actors do have it tough in the sense that, it's the only art form where you have nothing to stand behind. You're not painting a picture to show me. You're not singing a song, which is separate from your acting. You're not doing a dance, which is your body and your emotions. But it's just you; it's just your subjective raw emotion. And I think what a lot of actors specifically, I love my New York actors in our market, they've all been to school. They're all crafty, great actors. And I think that a lot of actors think, “Gosh, I must be doing something wrong.” And so much of film and television is just subjective look-based. If you're in an audition with me, you're probably a well-trained, good actor. And so it's not about someone being such a better actor than you are. It's about the dinner party atmosphere we're trying to create. And somebody was a better fit. So we invited that person to the dinner party and not you this time. And that's hard. You can be the most talented actor in the world. You get the opportunity, but ultimately it does come down to who doesn't blink at the end. And I also feel that it's the person who knows they are good at their job. And what I want to give actors the perspective of is, you know what? Maybe you're doing everything right. Maybe you're doing everything right. And you just need to keep doing that. Because a lot of times, it's about what's being written. Are there roles for you right now that really fit your marketing package and your type? Do you fit the world? With our eyeballs. And so that has nothing to do with your craft a lot of the time. You do have to think about this as a business. And so you think about putting somebody on set, and when we get to cast somebody and it's their first job on a set like that's a great day. There is like buoyancy and adaptability that we're looking for in people to be able in that callback setting to turn something on their head if needed, to be able to take direction quickly. And if they're not understanding what we mean or what the director means, ask a question. Nobody's going to think you're stupid. Nobody's going to think you can't hear it well, or like that you don't agree. It's okay. We all have days when we're not that great at our jobs. If I give an actor a direction that's not clear, I don't want them to yes to me and nod their head. I want them to ask me a question and follow it up. If you're not understanding, then the two takes are going to look exactly the same. Read the directions out loud. I think it's really important that when you get a breakdown and, they say, submit it this way and, specifically, do your slate at the end. One of the things that I encourage the actors I work with is to really, read the directions out loud, then you know you've heard it, and highlight anything that's specific. Speaking of breakdowns, I think. A lot of times, people's focus on the breakdown will be the small adjective-filled description that we write instead of knowing that if you've got the audition, the breakdown has already done its job, that part of your job has already been done, your agent or manager or you submitted yourself based on the breakdown. I saw your headshot. I selected you. Now it's done. So you briefly look at the breakdown and ensure you're in the realm, but actors often get old breakdowns. And it's not because we're lazy. It's because we don't want to resubmit a breakdown with a subtle change to hundreds of agents and managers. So if an actor gets a breakdown and they're 55, the breakdown says 30 to 40, they freak out or they think their manager or agent isn't doing a good job. It's you just got an old breakdown; you don't have to worry about that anymore. Focus on the work.

On episode 207, we discussed the brat pack, Ed Burns and dirtbags. Enjoy!

Jamaal Johnson, host of the 950 Club Anime Podcast, joins Len and Beave for an in-depth discussion of the series many regard as the finest of all time: "The Wire". Join us for an in-depth discussion of each season, which characters are our favorite, the best lines from the series, the best episodes, which actors have gone on to have the most successful careers, and much more! Tune in for an outstanding discussion.

Welcome to Season 4 of What's My Frame!! We have an extra special conversation to kick off the season; today I'm joined by New York Casting Director, Maribeth Fox.  Maribeth has been a part of the Laura Rosenthal Casting office for over fifteen years; working alongside major talents like Todd Haynes, Paolo Sorrentino, Oren Moverman, Joachim Trier, Ed Burns, Mindy Kaling, Anton Corbijn, and Lisa Cholodenko as well as up and coming feature directors, Guy Nattiv, Olivia Newman, & Paul Downs Colaizzo.   Some of Maribeth's favorite credits include Olive Kitteridge and Mildred Pierce both for HBO, Jay-Z's music video for Smile, Wonderstruck with Todd Haynes, A Quiet Place, Modern Love for Amazon and Liz Garbus' narrative feature debut, Lost Girls. Two of her three films at the 2018 Sundance Film Festival broke sales records, Late Night and Brittany Runs A Marathon. Most recent credits include Sharper for Apple TV, directed by Benjamin Caron, Bottoms, produced by Elizabeth Banks, Murder Mystery 2 with Happy Madison, and the upcoming A Different Man from Killer Films and A24. When I say today's conversation fed my soul as an actor, I'm not exaggerating! It was pure joy to listen to Maribeth's stories, experiences casting and compassionate understanding of actor's work... Now let's get to the conversation!! Additional links: Millicent Simmonds, Wonderstruck's interview Millicent Simmonds shares the role that changed her life Bottom's Trailer // premiering August '23 -- Hosted by Laura Linda Bradley Join the WMF creative community now! Instagram: ⁠⁠⁠⁠@whatsmyframe⁠⁠⁠⁠ TikTok: ⁠⁠⁠⁠@whatsmyframe⁠⁠⁠⁠ ⁠⁠⁠⁠IMDb⁠⁠⁠⁠ ⁠⁠⁠⁠What's My Frame? official site ⁠⁠⁠⁠ ⁠⁠⁠⁠Join our monthly newsletter!⁠⁠⁠⁠ What's My Frame? merch; Coming soon!! --- Support this podcast: https://podcasters.spotify.com/pod/show/whats-my-frame/support

Life can often be so predictable. Each day I wake up, have coffee, get my kids to school, and go to work. But sometimes there are days when things happen that are completely unexpected. That sums up my experience interviewing today's podcast guest Brian Burns, and I could not be more grateful for it.Brian Burns is the award-winning writer and Executive Producer of the hit television series Blue Bloods on CBS, HBO's Entourage, and Will Ferrell's hit comedy film, Daddy's Home.Brian has served as Executive Producer of Blue Bloods for nearly 300 episodes over a record 13 seasons, & has personally written over 50 episodes of the long-running hit police procedural.Prior to Blue Bloods, Burns wrote and produced many seasons of Entourage on HBO, where he was nominated multiple times for an Emmy and Writer's Guild Award.Based on his experience as a new stepfather, Burns wrote Daddy's Home for WillFerrell and Adam McKay, which went on to be one of Ferrell's most successful box office hits.So I predicted we would mostly talk about writing and producing TV and movies, which we did. I also figured we would spend a little bit of time discussing his incredibly tight-knit family, which consists of other career heavy-hitters like his father, Edward J Burns, an NYPD police sergeant and former Spokesman for the NYPD, and his brother Ed Burns, the well-known actor and director with whom he created the ABC sitcom That's Life and the NBC sitcom The Fighting Fitzgerald's starring Brian Dennehy and Connie Britton.But our conversation held SO much more than just Hollywood and his incredible and successful creative endeavors.In a beautifully unplanned and organic way, our conversation traveled far and wide, as all the best ones do. We discussed the death of his mentor and dear friend Rocco, his mother's passing during the pandemic, and his journey to sobriety that helped him become a better father, writer, and human being.Brian shares intimate stories about facing the fears that were holding him backfrom living an honest and (sometimes) HARD life. But it was those “hards” in life that forced him to have intimate yet difficult conversations with his loved ones, led him to start training and running marathons, and finally allowed him to get to the truth about his relationship with alcohol.This episode is the longest interview I have released yet, and it's worth every single moment. Join us for this captivating and deeply authentic conversation filled with unexpected turns and immense hope. Our talk left me with an enormous amount of faith in the goodness of people.We are all striving to be healthier in our bodies, minds, and spirits. And regardless of how well-known our work is, or how successful we may be in the world, we all struggle sometimes in life as we try to find ways to connect more deeply to ourselves in order to strengthen our connections to our loved ones.May this conversation strengthen your own connections and give you hope for what's possible.Love,MollyConnect with Brian on Instagram, Twitter, and FacebookResources mentioned in this interview:Book: This Naked Mind: Control Alcohol, Find Freedom, Discover Happiness & Change Your Lifeby Annie GraceBook: The Honey Badgerby Robert Ruark 

The tips shared in this interview will help you grow your transportation business in 2023. Ed Burns is the CEO of Burns Logistics, a company focused on connecting shippers and carriers so that everyone succeeds. In this interview, Spencer Tenney and Ed discuss the skills modern-day transportation sales professionals need to thrive, how to handle selling in a down market, and the most important factor in any transaction. ___ Are you looking to buy or sell a transportation business? We can help. Learn More

Recorded Date 2/24/2023 Overview Ian, Kito, and Josh are joined by old friends and industry veterans Ed Burns and Reza Rahman, who both work at Microsoft on providing world-class support for Java on #Azure. They reminisce about the old days of JavaServer Faces, the evolution of Java EE to Jakarta EE, discuss Jakarta EE 11, Microsoft's support for Sporing, Jakarta EE, and MicroProfile, PaaS offerings, compare cloud vendors, and much more.  Guests:   - Ed Burns, Principal Engineer, Microsoft (https://ridingthecrest.com)    - Book: Secrets of the Rock Star Programmers: Riding the IT Crest  - Reza Rahman, Principal Program Manager for Java on Azure, Microsoft (https://reza-rahman.me/about/)    - Earlier episode with Reza: Stackd Episode 37 – Nov 2017 (https://www.pubhouse.net/2017/11/episode-37-nov-2017.html) Server Side Java  - Jakarta EE 11 Discussion  https://docs.google.com/document/d/1m-dkvbL0iFFzitO4vt1SVq6GGSJyFdCDM2NU_FzGS10/edit?hss_channel=tw-939323243076259842#heading=h.1oyn459kodrn  - Java EE, Jakarta EE, and MicroProfile on Azure  https://learn.microsoft.com/en-us/azure/developer/java/ee/  - Guide to Contributing to Jakarta EE 11  https://jakartaee-ambassadors.io/guide-to-contributing-to-jakarta-ee-11/  - Jakarta EE 10 presentation (feel free to use it!)  https://docs.google.com/presentation/d/1pryG2riguvJzhjceIpSZ03q93gd2scG-/edit?usp=sharing&ouid=105337742626157521641&rtpof=true&sd=true  - Azure HCI  https://azure.microsoft.com/en-us/products/azure-stack/hci/  - Josh's blog post from 2016 about Java EE progress from Oracle  https://jj-blogger.blogspot.com/2016/04/java-ee-8-what-is-current-status-case.html Other  - Erotic Life of Code  https://www.yumpu.com/en/document/view/37625727/mob-software-the-erotic-life-of-code-oopsla Picks   - Infinilog (https://apps.apple.com/us/app/infilog-daily-tracker/id514720973)  - The Healthy Programmer (http://healthyprog.com/)  - Agenda Notes (https://agenda.com/)  - Courage to be Disliked - Book (https://www.amazon.com/Courage-Be-Disliked-Phenomenon-Happiness-ebook/dp/B078MDSV8T) Other Pubhouse Network podcasts  - Breaking into Open Source (https://www.pubhouse.net/breaking-into-open-source)  - OffHeap (https://www.javaoffheap.com/)  - Java Pubhouse (https://www.javapubhouse.com/) Events  - JavaLand 2023 - March 21-23, Brühl, Germany    - DevNexus 2023 - April 4-6, Atlanta, GA, USA  - JAlba - May 4-6, Edinburgh, Scotland  - JCON EUROPE 2023 - June 20-23, Cologne Köln, Germany  - Gateway Software Symposium - Mar 31-Apr 1, St. Louis, Missouri, USA  - Pacific Northwest Software Symposium -  April 14-15, Seattle, WA, USA  - JPrime - May 30-31st, Sofia, Bulgaria  - Central Iowa Software Symposium -  June 9-10, 2023, West Des Moines, Iowa, USA  - Lone Star Software Symposium: Austin - July 14 - 15, 2023, Austin, TX, USA  - ÜberConf - July 18 - 21, 2023, Denver, CO, USA  - JChampions Conference Sessions Recorded online    

Recorded Date 2/24/2023 Overview Ian, Kito, and Josh are joined by old friends and industry veterans Ed Burns and Reza Rahman, who both work at Microsoft on providing world-class support for Java on #Azure. They reminisce about the old days of...

Jesse Starcher, Andrew Graham and Mark Radulich present their Generation Kill HBO TV Show Review! Generation Kill is an American seven-part television miniseries produced for HBO that aired from July 13 to August 24, 2008. It is based on Evan Wright's 2004 book about his experience as an embedded reporter with the US Marine Corps' 1st Reconnaissance Battalion during the 2003 invasion of Iraq, adapted for television by David Simon, Ed Burns, and Wright. The miniseries was directed by Susanna White and Simon Cellan Jones and produced by Andrea Calderwood. The ensemble cast includes Alexander Skarsgård as Sergeant Brad 'Iceman' Colbert, James Ransone as Corporal Josh Ray Person, and Lee Tergesen as Wright. Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network. Mark Radulich and his wacky podcast on all the things: https://linktr.ee/markkind76 also snapchat: markkind76 FB Messenger: Mark Radulich LCSW Tiktok: @markradulich twitter: @MarkRadulich

What lessons were learned in 2022 about sales and marketing what does 2023 hold? Ed Burns, Vice President of Relationships at Burns Logistics, and Anthony Smith, Chief Economist at FreightWaves, chat about the generational shift in selling and the importance of marketing in the coming year.Follow FreightWaves PodcastsJoin the Sales & Marketing Summit 2023

It was May 10th of 2009 in Wolfeboro, New Hampshire, when 15-year-old Michael Burns decided to make breakfast in bed for his mom, Stacey, as it was Mother's Day and that was a standard, fun thing for him to do for her. When he walked into her room, he was horrified to find a brutal scene: his mom was dead, and she had been stabbed multiple times. Stacey Burns, a school nurse and devoted member of her church, had just gone through a fairly unsettling divorce with her husband of 17 years, Ed Burns. She also, in the time since leaving her estranged husband, began seeing a man named Jim Vittum. The relationship with Jim didn't last as he was more intense than she would've liked and Jim was not having it. To this day police are unsure who killed Stacey, however the fingers are pointed at both of these men being suspects. Join Katie and Liz this week on True Crime New England to hear the details of the case and decide for yourself who you think is responsible for the murder of Stacey Burns. Anyone with any information on the murder of Stacey Burns is asked to please call the New Hampshire State Police tip line at (603) 223-3856 or the Wolfeboro police department at (603) 569-8173. --- Support this podcast: https://anchor.fm/truecrimene/support

Episode 35: SMPD CSO Ed BurnsIn this episode, we interview Santa Monica Police Department Community Service Officer Ed Burns. Ed discusses the significant impact his parents had on his life, including experiencing lack of affection and physical abuse. Living with an absent and alcoholic father, and an abusive, anxious mother, he learned to suppress and restrict his emotions from a young age, which later had a large impact on his relationships. Ed recalls his early years in Los Angeles County as an EMT, working on an ambulance during the 1992 LA Riots. He also discusses his twenty five years of service with Santa Monica PD as a community service officer. Ed is a trained accident reconstructionist and fatal accident investigator, and has witnessed most of the major critical incidents that have occurred in Southern California over the past several decades. Ed is a member of the SMPD peer support team, and discusses his own history of going to therapy. Ed is also a professional photographer and enjoys taking portraits for first responders. Check him out on Instagram at @edburnsphotography and @valiantimageportraits. 

With every movie Bill Simmons, Chris Ryan, and Sean Fennessey rewatch, the farther away they feel from home. They revisit Steven Spielberg's 1998 American epic war film ‘Saving Private Ryan' starring Tom Hanks, Tom Sizemore, Ed Burns, and Matt Damon. Producer: Craig Horlbeck Learn more about your ad choices. Visit podcastchoices.com/adchoices

It's been 20yrs since HBO took a chance on David Simon & they gave us The Wire. It's probably the most groundbreaking television show of all-time, so Will breaks down the origin of the series, the cast & summarizes season 1......enjoy & thank you to HBO, David Simon, Ed Burns & the entire cast/crew

This year marks the 20th anniversary of HBO's crime drama The Wire. Creators David Simon and Ed Burns spent five seasons dissecting various institutions in Baltimore, producing what is now considered one of the best television series of all time. The large cast included many then-unknown actors who've gone on to become stars, like Idris Elba, Michael B. Jordan, Dominic West and the late Michael K. Williams.

The world's most beloved Twitter personality, and my good friend, Howling Mutant returns to the show to discuss many topics, including cinema (of which he likes very little), James Ellroy, Ed Burns, and gives some great weight loss advice. You won't want to miss this episode. Howling Mutant on Twitter: https://twitter.com/Howlingmutant0

Kim is the best! But this is not published yet. --- Support this podcast: https://anchor.fm/the-after-laugh/support

Ed Burns is the Vice President of Relationships at Burns Logistics. They're the #1 solution provider in the industry. Big Ed and his team are here to help you find the relationships you need to thrive. The transportation industry can be mired in complications and difficulties. Burns Logistics Solutions will help you find solutions by simplifying it into one word: relationships. Put our stellar network to work for you and your company, whether you are a shipper or carrier, or somewhere in between. Make sure to connect with them on social media! 

You've seen 2004's Flight Of The Phoenix before -- not just the Jimmy Stewart verzh from the '60s, but every "ragtag group with various animosities bands together to beat insurmountable odds, with an assist from ILM CGI" flick before it. As NOT the best pilot we ever saw, Dennis Quaid's Frank Towns throws John Wayne, Barth from You Can't Do That On Television, and a crappish Bill Clinton imitation into a blender to assay a backstory-free brat to whom everyone from Dr. House to EMT Riley to Eowyn is looking for salvation. How long have they been out in the Gobi? How much water is left? Why are Chekhov's nomads wearing Converse? And why did the same single rock in the entire desert that killed Sam Winchester then save Dennis Quaid? A lot of questions, a lot of callbacks to Enemy Mine in the season finale of Quaid In Full. Overall score: 4.5 QQQ score: 6 Days since a lost Kuffs accident: 35 SHOW NOTES Follow us on Twitter (http://twitter.com/quaidinfullpod) Get EVEN MORE Qontent (...sorry) at our Patreon page (https://www.patreon.com/quaidinfull) S02E11: The Right Stuff (https://quaidinfull.fireside.fm/20) S03E02: Enemy Mine (https://quaidinfull.fireside.fm/23) "Iiiiii heard that" (https://www.youtube.com/watch?v=43CDeAFzGww) Part 1 of The Phoenix Diaries, in which the director allegedly yells at the actors (https://www.youtube.com/watch?v=PN4MHIcxvYc) Ebert's review (https://www.rogerebert.com/reviews/flight-of-the-phoenix-2004) Marc Savlov's for The Austin Chronicle (https://www.austinchronicle.com/events/film/2004-12-17/242532/) Ruthe Stein's for the Chron (https://www.sfgate.com/movies/article/Phoenix-wobbly-in-latest-incarnation-2628695.php)