Podcast appearances and mentions of gene simons

Episode 70 is LIVE, and this week Adam and Kevin watched Tobe Hooper's 1981 exercise in child rearing, Funhouse! Not to be confused with Full House! No sir, there are no Olsen twins in this. Instead it's an hour and a half of joyous carnival hillbilly fun complete with a sweaty redneck dad, his drooling inbred son that looks like the lovechild of Gene Simons and goat milk, and a fortuneteller that can work a Frankenstein mask better than Boris Karloff! JOIN US. Everywhere you pod. It's Miller time! DBP Hosts: Adam Crohn: Instagram: @actoydesign / @ihavespokenpod / @mom_gave_them_away Kevin Krull: Instagram: @theotherkevinkrull Support the show directly on Patreon: https://www.patreon.com/deathbypodcast Death by Podcast Linktree: https://linktr.ee/deathbypodcast Follow us: Instagram: @deathbypodcast Twitter: @DBPpodcast YouTube: Death by Podcast

Le GHB, la drogue du viol, fait encore et toujours des ravages dans les bars | C'est jour de sondage au Québec | Le cancer colorectal vient au deuxième rang des causes de décès par cancer au Québec.  Dans cet épisode intégral du mercredi 1er mars, en entrevue :  Rozana Ryan, étudiante à l'Université de Montréal Marilou Gravel, enseignante au primaire de la maternelle à la 6e année et  Christine-Amélie Roberge, gestionnaire Christian Carrier, hémato-oncologue et chef du service d'oncologie médicale du CIUSSS Mauricie Centre-du-Québec.  Une production QUB radioMars 2023Pour de l'information concernant l'utilisation de vos données personnelles - https://omnystudio.com/policies/listener/fr

Trending Topics At 5. Gene Simons is pressing for listeners to get vaxxed.Survivor winner Mike Gabler donated his entire $1 Million prize to Veterans.  See omnystudio.com/listener for privacy information.

Trending Topics At 5. Gene Simons is pressing for listeners to get vaxxed.Survivor winner Mike Gabler donated his entire $1 Million prize to Veterans.  See omnystudio.com/listener for privacy information.

O que vocês ouviram essa semana? O que foi lançado no mundo do rock? Nosso time traz aquilo que encheu os seus ouvidos para a mesa. Carnaval fora de época, mas que mostra a força das ruas em proposições politicas e populares. O cancelamento de blocos por muitos estados e municipios, foi apenas para conter protestos generalizados? STF e governo voltam a se chocar, por conta de Daniel Silveira, condenado pelo supremo, Bolsonaro solta decreto de indulto liberando deputado de cumprir sentença. Afinal, nessa briga, quem esta certo ou errado? A aposentadoria de Angeli, grande cartunista brasileiro que irá diminuir sua atuação por conta de uma doença. Mike Tyson fica puto com fã pentelho e distribui socos em pleno vôo, atitude correta? O limite do assédio foi ultrapassado? Gene Simons está com o nobre pugilista, é preciso impor limites, sejam eles em caráter violento. Napalm death foi amplamente criticado após foto de Shane Embury com uma das camisetas mais fofas produzidas pela banda, o metaleiro porradeiro não admite qualquer fofura? A moda no merchandising dita os ganhos da banda e tem capacidade de sustentá-las com públicos variados? Carnaval fora de época, mas que mostra a força das ruas em proposições politicas e populares. O cancelamento de blocos por muitos estados e municipios, foi apenas para conter protestos generalizados? STF e governo voltam a se chocar, por conta de Daniel Silveira, condenado pelo supremo, Bolsonaro solta decreto de indulto liberando deputado de cumprir sentença. Afinal, nessa briga, quem esta certo ou errado? A aposentadoria de Angeli, grande cartunista brasileiro que irá diminuir sua atuação por conta de uma doença. Mike Tyson fica puto com fã pentelho e distribui socos em pleno vôo, atitude correta? O limite do assédio foi ultrapassado? Gene Simons está com o nobre pugilista, é preciso impor limites, sejam eles em caráter violento. Napalm death foi amplamente criticado após foto de Shane Embury com uma das camisetas mais fofas produzidas pela banda, o metaleiro porradeiro não admite qualquer fofura? A moda no merchandising dita os ganhos da banda e tem capacidade de sustentá-las com públicos variados?

Desde la expulsión de Gabriel Quadri de un programa de televisión por su discurso de odio hasta Gene Simons comparte video de un recolector de basura en Monterrey disfrazado de The Kiss. See acast.com/privacy for privacy and opt-out information.

Libro recomendado On Fire de Gene Simons https://amzn.to/3sMXouh   Cuéntame, ¿cuál ha sido tu gran “aha” hasta ahora con este podcast diario?  Escríbeme a greydaliz@lanzatupodcast.com

Each Friday Jeff Pitts who is the managing editor for Cityview Magazine comes to the studio to chat it up about "Stuff to DO" in the Greater Des Moines Metro this weekend into next week. We have a Fun Friday chatting it up about some great events like the Drake Observatory Lecture series on Friday Night. Then there is KISS from the Des Moines Ballet. Can't you see Gene Simons in a tutu? The Addams Family is in Altoona. The Downtown Farmers Market and Halloween. We've got the Cityview "21 From 2021" event happening in Windsor Heights. Straight No Chaser is in town, wrestling, Beggars Night and more. Have some fun already, you deserve it! Thanks for listening! The award winning Insight on Business the News Hour with Michael Libbie is the only weekday business news podcast in the Midwest. The national, regional and some local business news along with long-form business interviews can be heard Monday - Friday. You can subscribe on PlayerFM, Podbean, iTunes, Spotify, Stitcher or TuneIn Radio. And you can catch The Business News Hour Week in Review each Sunday Noon on News/Talk 1540 KXEL. The Business News Hour is a production of Insight Advertising, Marketing & Communications. You can follow us on Twitter @IoB_NewsHour.

Little bounce back show after our very serious Episode 14. We discuss Brewery's who've sold off to conglomerates. Gene Simmons and his giant dome comes up. That's one seriously crazy guy. We also discuss Lego's and rail guns! Yes, rail guns. It's pretty rad.

Conocido mundialmente como miembro de la legendaria banda KISS, Gene Simons es toda una leyenda de la música, además de un genio. El músico habla cinco idiomas, entre ellos japonés, hebreo y húngaro. De padres judíos que sobrevivieron al holocausto, rompe las normas del rock al no beber alcohol ni consumir drogas, además posee un título en Educación. Hosted on Acast. See acast.com/privacy for more information.

Themen: Neue Ankündigungen von Caliban, Matt Heafy, Loathe und Singles von While She Sleeps, Architects, Of Mice & Men, Lost For Life, Gedankenspiel wie könnte die Halbzeitshow des Super Bowl mit härteren Künstlern aussehen können?, Gene Simons beschuldigt wieder die junge Generation und natürlich stellen sich die Jungs von Inner Space vor und geben einen Ausblick auf das was noch kommt! https://www.facebook.com/innerspacehc https://szene-putzen-podcast.de/

@Lucio91.9FM te cuenta la historia acerca de las miles de parejas amorosas que tuvo Gene Simons de Kiss. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/lucio-morales/message

Since 2011, Rock Cellar Magazine has been featuring news, upcoming releases, and interviews with legendary artists including Gene Simons, Ringo Star, Carlos Santana, David Cosby, Steven Tyler and so many more over the years. Recently, Mike Hill Bass, musician and the genius behind the Love and War Film and EP, joined the RCM team and launched the "Independent Artist Program" earlier this year to help and promote local based artists. This is when KGUP PRESENTS took interest. Founder Mikey Jayy sit down with Mike Hill Bass and Jeff Cazanov of Rock Cellar Magazine to talk about Mike's amazing career over the last 15 years as a professional bassist, but also talk about what led him to being a successful musician to working with RCM. Mike also gives very detailed tips on how to reach any Kickstarter goal. This is a priceless episode that all up-and-coming music artists and music lovers need to listen to. Links: Rock Cellar Magazine Independent Artists Program Mike Hill Bass Love and War Documentary --- Send in a voice message: https://anchor.fm/kgup-presents/message Support this podcast: https://anchor.fm/kgup-presents/support

Pod-Crashing Episode 51: The Depth Of The InterviewFirst. I’m not a fan of the word interview. Why I chose to hoist it into the title is totally trying to spend less time having to explain what it is I do. I always say, “Let’s have a conversation!” People are like, “OK what about?” “No No No… lets do an interview.” “Ohhhhhhhh”I get in a lot of verbal wrestling matches with friends, family, social media connections and whomever else happens to walk on my lawn. My passion. It gets in the way of everything. Interviewing creative people is one such place. I have a huge passion and drive to get into a conversation. It’s always worth fighting for. Between 1979 to 2012 I did what every program direction and radio consultant told me what to do. 95% of the time I still believe they were wrong. I dreamed of the day when I could take them on a true journey through the creative self I was and still am. But it wasn’t about me. It was their station and their livelihood and my job was to participate or locate a new place to plug in my earphones. With podcasting I am everything they once were. I play by the very rules they stamped into my noggin. Yes I’m very strict on myself and believe in showing up every day to bring forward a product that nearly 1.1 million listeners have tapped into. I stand before you confessing that no matter how crazy those decision makers made me, I wouldn’t be where I am with podcasting if they hadn’t been present. As a podcaster you are your own boss. You are the writer, voice over talent, producer, promotions director and Operations Manager keeping every personality glued on the plan and purpose. This didn’t happen overnight. The walk has been incredibly lonely and filled with a lot of strikeouts at the plate. During this Coronavirus breakdown and job loss point on the map I expect more terrestrial radio people to make their way to the digital stage. You can’t turn off being a Broadcaster. It’s worse than an itch in the center of your back and you can’t reach it. I’m approached everyday by podcast promoters. Not one or two. Mega amounts of great writers and speakers that claim they’ve got the free ticket to the fountain of youth. “I can get you real people! Lots of them!” My general response is, “Please send me your podcast. I’d like to listen to your episodes and go to the sites to watch how people pick them up.” I never get an email with a podcast attached. A promoter the other day wrote, “Your episodes only appear on one platform correct?” Keep in mind this is someone trying to get my business. Very calmly I replied, “Please listen to every interview. The way I ask questions and how I bring in several different subjects. As the writer, talent and producer I need each episode to reach five to fifteen different podcasts.” Sounds like I’m a smartass right? I’m not trying to be. I need to play a smart game and that requires me to take the time to educate anyone walking by. The goal is to drop the ego and the door because out there in the real world nobody cares about the passion I put into every question. They’ve got a job to do and right now with the global shutdown everyone thinks they’re a podcast promoter. In talking with other podcasters and their performances the average person can pretty much see that those of us broadcasting are pretty much convinced that we’re locked in on the next big thing. I remember Gene Simons of KISS telling me, “If you don’t act like it’s bigger than life nobody will think it’s bigger than life.” Back to the original thought. The depth of the interview. Everything I get into is on a time limit. I’m not Marc Maron of Howard Stern lucky. I get 7 to 20 minutes then you’ve got to bail. I love it when the producers step through the restraint and say, “Take 30 or 40.” And I’ve only prepped for 7. That means the voice over talent is gonna have to listen to everything being said and bring new questions into the conversation by what was said. Question their answers.Always try your best to end your interviews or episodes with depth. If the time keeper says you need to be out at 1:18 then you need to begin wrapping up at 1:16. Taking an interview over that line is going to earn you an email from the promoter. Or they aren’t going to send another invite. Plus having a solid question with two minutes to go allows the person you’re talking with to think the conversation is pretty much over and that’s when they let their guard down. The real one of a kind story starts now. Introduce a small area where it sounds like things are stopping then leave the machine on while recording. Never turn it off until they’ve left the studio or hung up the phone. They’re always going to say something. If you’ve given them enough room to breathe. I got into this way of recording back in the 90’s because all of these famous artists would step into the studio and say the best things and because didn’t have the microphone on I missed out on a very unique opportunity. Every person that steps into the room will see the recording light on. That’s the universal signal of somethings hot and it’s being recorded or the light wouldn’t be on. As the producer you return to the front before all the formal hellos and how are yous and make it part of the conversation. Get creative. I’ve only had three or four people send me an email asking that I don’t use that part of the conversation. I play along. OK cool and the relationship doesn’t get damaged. So what’s the moral of the story? I get it your podcast is the greatest thing since the invention of pasta meeting sauce. Promoters are ready to work with you if you’ve got the space to create with them. Another words. If Paul McCartney is only available at 9:32 it’s a yes or no question. You can do it or you don’t. Once you land it don’t walk into the conversation thinking your episodes are more mighty then the winds that shake the mile high bridge on Grandfather Mountain in North Carolina. Every person you talk with has something to sell. Put your focus on the present without getting into a conversation about the past that listeners already know about. I wouldn’t want to talk to Paul McCartney about the Beatles or Wings. I wanna know about his first children’s book Hey Granddude. I want to hear the childlike voice he uses while reading it young people. They don’t know of his historic lie and style but in that moment where he’s reading the dude can paint a funny face!!!

Pod-Crashing Episode 51: The Depth Of The Interview First. I’m not a fan of the word interview. Why I chose to hoist it into the title is totally trying to spend less time having to explain what it is I do. I always say, “Let’s have a conversation!” People are like, “OK what about?” “No No No… lets do an interview.” “Ohhhhhhhh” I get in a lot of verbal wrestling matches with friends, family, social media connections and whomever else happens to walk on my lawn. My passion. It gets in the way of everything. Interviewing creative people is one such place. I have a huge passion and drive to get into a conversation. It’s always worth fighting for. Between 1979 to 2012 I did what every program direction and radio consultant told me what to do. 95% of the time I still believe they were wrong. I dreamed of the day when I could take them on a true journey through the creative self I was and still am. But it wasn’t about me. It was their station and their livelihood and my job was to participate or locate a new place to plug in my earphones. With podcasting I am everything they once were. I play by the very rules they stamped into my noggin. Yes I’m very strict on myself and believe in showing up every day to bring forward a product that nearly 1.1 million listeners have tapped into. I stand before you confessing that no matter how crazy those decision makers made me, I wouldn’t be where I am with podcasting if they hadn’t been present. As a podcaster you are your own boss. You are the writer, voice over talent, producer, promotions director and Operations Manager keeping every personality glued on the plan and purpose. This didn’t happen overnight. The walk has been incredibly lonely and filled with a lot of strikeouts at the plate. During this Coronavirus breakdown and job loss point on the map I expect more terrestrial radio people to make their way to the digital stage. You can’t turn off being a Broadcaster. It’s worse than an itch in the center of your back and you can’t reach it. I’m approached everyday by podcast promoters. Not one or two. Mega amounts of great writers and speakers that claim they’ve got the free ticket to the fountain of youth. “I can get you real people! Lots of them!” My general response is, “Please send me your podcast. I’d like to listen to your episodes and go to the sites to watch how people pick them up.” I never get an email with a podcast attached. A promoter the other day wrote, “Your episodes only appear on one platform correct?” Keep in mind this is someone trying to get my business. Very calmly I replied, “Please listen to every interview. The way I ask questions and how I bring in several different subjects. As the writer, talent and producer I need each episode to reach five to fifteen different podcasts.” Sounds like I’m a smartass right? I’m not trying to be. I need to play a smart game and that requires me to take the time to educate anyone walking by. The goal is to drop the ego and the door because out there in the real world nobody cares about the passion I put into every question. They’ve got a job to do and right now with the global shutdown everyone thinks they’re a podcast promoter. In talking with other podcasters and their performances the average person can pretty much see that those of us broadcasting are pretty much convinced that we’re locked in on the next big thing. I remember Gene Simons of KISS telling me, “If you don’t act like it’s bigger than life nobody will think it’s bigger than life.” Back to the original thought. The depth of the interview. Everything I get into is on a time limit. I’m not Marc Maron of Howard Stern lucky. I get 7 to 20 minutes then you’ve got to bail. I love it when the producers step through the restraint and say, “Take 30 or 40.” And I’ve only prepped for 7. That means the voice over talent is gonna have to listen to everything being said and bring new questions into the conversation by what was said. Question their answers. Always try your best to end your interviews or episodes with depth. If the time keeper says you need to be out at 1:18 then you need to begin wrapping up at 1:16. Taking an interview over that line is going to earn you an email from the promoter. Or they aren’t going to send another invite. Plus having a solid question with two minutes to go allows the person you’re talking with to think the conversation is pretty much over and that’s when they let their guard down. The real one of a kind story starts now. Introduce a small area where it sounds like things are stopping then leave the machine on while recording. Never turn it off until they’ve left the studio or hung up the phone. They’re always going to say something. If you’ve given them enough room to breathe. I got into this way of recording back in the 90’s because all of these famous artists would step into the studio and say the best things and because didn’t have the microphone on I missed out on a very unique opportunity. Every person that steps into the room will see the recording light on. That’s the universal signal of somethings hot and it’s being recorded or the light wouldn’t be on. As the producer you return to the front before all the formal hellos and how are yous and make it part of the conversation. Get creative. I’ve only had three or four people send me an email asking that I don’t use that part of the conversation. I play along. OK cool and the relationship doesn’t get damaged. So what’s the moral of the story? I get it your podcast is the greatest thing since the invention of pasta meeting sauce. Promoters are ready to work with you if you’ve got the space to create with them. Another words. If Paul McCartney is only available at 9:32 it’s a yes or no question. You can do it or you don’t. Once you land it don’t walk into the conversation thinking your episodes are more mighty then the winds that shake the mile high bridge on Grandfather Mountain in North Carolina. Every person you talk with has something to sell. Put your focus on the present without getting into a conversation about the past that listeners already know about. I wouldn’t want to talk to Paul McCartney about the Beatles or Wings. I wanna know about his first children’s book Hey Granddude. I want to hear the childlike voice he uses while reading it young people. They don’t know of his historic lie and style but in that moment where he’s reading the dude can paint a funny face!!!

Pod-Crashing Episode 51: The Depth Of The InterviewFirst. I’m not a fan of the word interview. Why I chose to hoist it into the title is totally trying to spend less time having to explain what it is I do. I always say, “Let’s have a conversation!” People are like, “OK what about?” “No No No… lets do an interview.” “Ohhhhhhhh”I get in a lot of verbal wrestling matches with friends, family, social media connections and whomever else happens to walk on my lawn. My passion. It gets in the way of everything. Interviewing creative people is one such place. I have a huge passion and drive to get into a conversation. It’s always worth fighting for. Between 1979 to 2012 I did what every program direction and radio consultant told me what to do. 95% of the time I still believe they were wrong. I dreamed of the day when I could take them on a true journey through the creative self I was and still am. But it wasn’t about me. It was their station and their livelihood and my job was to participate or locate a new place to plug in my earphones. With podcasting I am everything they once were. I play by the very rules they stamped into my noggin. Yes I’m very strict on myself and believe in showing up every day to bring forward a product that nearly 1.1 million listeners have tapped into. I stand before you confessing that no matter how crazy those decision makers made me, I wouldn’t be where I am with podcasting if they hadn’t been present. As a podcaster you are your own boss. You are the writer, voice over talent, producer, promotions director and Operations Manager keeping every personality glued on the plan and purpose. This didn’t happen overnight. The walk has been incredibly lonely and filled with a lot of strikeouts at the plate. During this Coronavirus breakdown and job loss point on the map I expect more terrestrial radio people to make their way to the digital stage. You can’t turn off being a Broadcaster. It’s worse than an itch in the center of your back and you can’t reach it. I’m approached everyday by podcast promoters. Not one or two. Mega amounts of great writers and speakers that claim they’ve got the free ticket to the fountain of youth. “I can get you real people! Lots of them!” My general response is, “Please send me your podcast. I’d like to listen to your episodes and go to the sites to watch how people pick them up.” I never get an email with a podcast attached. A promoter the other day wrote, “Your episodes only appear on one platform correct?” Keep in mind this is someone trying to get my business. Very calmly I replied, “Please listen to every interview. The way I ask questions and how I bring in several different subjects. As the writer, talent and producer I need each episode to reach five to fifteen different podcasts.” Sounds like I’m a smartass right? I’m not trying to be. I need to play a smart game and that requires me to take the time to educate anyone walking by. The goal is to drop the ego and the door because out there in the real world nobody cares about the passion I put into every question. They’ve got a job to do and right now with the global shutdown everyone thinks they’re a podcast promoter. In talking with other podcasters and their performances the average person can pretty much see that those of us broadcasting are pretty much convinced that we’re locked in on the next big thing. I remember Gene Simons of KISS telling me, “If you don’t act like it’s bigger than life nobody will think it’s bigger than life.” Back to the original thought. The depth of the interview. Everything I get into is on a time limit. I’m not Marc Maron of Howard Stern lucky. I get 7 to 20 minutes then you’ve got to bail. I love it when the producers step through the restraint and say, “Take 30 or 40.” And I’ve only prepped for 7. That means the voice over talent is gonna have to listen to everything being said and bring new questions into the conversation by what was said. Question their answers.Always try your best to end your interviews or episodes with depth. If the time keeper says you need to be out at 1:18 then you need to begin wrapping up at 1:16. Taking an interview over that line is going to earn you an email from the promoter. Or they aren’t going to send another invite. Plus having a solid question with two minutes to go allows the person you’re talking with to think the conversation is pretty much over and that’s when they let their guard down. The real one of a kind story starts now. Introduce a small area where it sounds like things are stopping then leave the machine on while recording. Never turn it off until they’ve left the studio or hung up the phone. They’re always going to say something. If you’ve given them enough room to breathe. I got into this way of recording back in the 90’s because all of these famous artists would step into the studio and say the best things and because didn’t have the microphone on I missed out on a very unique opportunity. Every person that steps into the room will see the recording light on. That’s the universal signal of somethings hot and it’s being recorded or the light wouldn’t be on. As the producer you return to the front before all the formal hellos and how are yous and make it part of the conversation. Get creative. I’ve only had three or four people send me an email asking that I don’t use that part of the conversation. I play along. OK cool and the relationship doesn’t get damaged. So what’s the moral of the story? I get it your podcast is the greatest thing since the invention of pasta meeting sauce. Promoters are ready to work with you if you’ve got the space to create with them. Another words. If Paul McCartney is only available at 9:32 it’s a yes or no question. You can do it or you don’t. Once you land it don’t walk into the conversation thinking your episodes are more mighty then the winds that shake the mile high bridge on Grandfather Mountain in North Carolina. Every person you talk with has something to sell. Put your focus on the present without getting into a conversation about the past that listeners already know about. I wouldn’t want to talk to Paul McCartney about the Beatles or Wings. I wanna know about his first children’s book Hey Granddude. I want to hear the childlike voice he uses while reading it young people. They don’t know of his historic lie and style but in that moment where he’s reading the dude can paint a funny face!!!

Pod-Crashing Episode 51: The Depth Of The Interview First. I’m not a fan of the word interview. Why I chose to hoist it into the title is totally trying to spend less time having to explain what it is I do. I always say, “Let’s have a conversation!” People are like, “OK what about?” “No No No… lets do an interview.” “Ohhhhhhhh” I get in a lot of verbal wrestling matches with friends, family, social media connections and whomever else happens to walk on my lawn. My passion. It gets in the way of everything. Interviewing creative people is one such place. I have a huge passion and drive to get into a conversation. It’s always worth fighting for. Between 1979 to 2012 I did what every program direction and radio consultant told me what to do. 95% of the time I still believe they were wrong. I dreamed of the day when I could take them on a true journey through the creative self I was and still am. But it wasn’t about me. It was their station and their livelihood and my job was to participate or locate a new place to plug in my earphones. With podcasting I am everything they once were. I play by the very rules they stamped into my noggin. Yes I’m very strict on myself and believe in showing up every day to bring forward a product that nearly 1.1 million listeners have tapped into. I stand before you confessing that no matter how crazy those decision makers made me, I wouldn’t be where I am with podcasting if they hadn’t been present. As a podcaster you are your own boss. You are the writer, voice over talent, producer, promotions director and Operations Manager keeping every personality glued on the plan and purpose. This didn’t happen overnight. The walk has been incredibly lonely and filled with a lot of strikeouts at the plate. During this Coronavirus breakdown and job loss point on the map I expect more terrestrial radio people to make their way to the digital stage. You can’t turn off being a Broadcaster. It’s worse than an itch in the center of your back and you can’t reach it. I’m approached everyday by podcast promoters. Not one or two. Mega amounts of great writers and speakers that claim they’ve got the free ticket to the fountain of youth. “I can get you real people! Lots of them!” My general response is, “Please send me your podcast. I’d like to listen to your episodes and go to the sites to watch how people pick them up.” I never get an email with a podcast attached. A promoter the other day wrote, “Your episodes only appear on one platform correct?” Keep in mind this is someone trying to get my business. Very calmly I replied, “Please listen to every interview. The way I ask questions and how I bring in several different subjects. As the writer, talent and producer I need each episode to reach five to fifteen different podcasts.” Sounds like I’m a smartass right? I’m not trying to be. I need to play a smart game and that requires me to take the time to educate anyone walking by. The goal is to drop the ego and the door because out there in the real world nobody cares about the passion I put into every question. They’ve got a job to do and right now with the global shutdown everyone thinks they’re a podcast promoter. In talking with other podcasters and their performances the average person can pretty much see that those of us broadcasting are pretty much convinced that we’re locked in on the next big thing. I remember Gene Simons of KISS telling me, “If you don’t act like it’s bigger than life nobody will think it’s bigger than life.” Back to the original thought. The depth of the interview. Everything I get into is on a time limit. I’m not Marc Maron of Howard Stern lucky. I get 7 to 20 minutes then you’ve got to bail. I love it when the producers step through the restraint and say, “Take 30 or 40.” And I’ve only prepped for 7. That means the voice over talent is gonna have to listen to everything being said and bring new questions into the conversation by what was said. Question their answers. Always try your best to end your interviews or episodes with depth. If the time keeper says you need to be out at 1:18 then you need to begin wrapping up at 1:16. Taking an interview over that line is going to earn you an email from the promoter. Or they aren’t going to send another invite. Plus having a solid question with two minutes to go allows the person you’re talking with to think the conversation is pretty much over and that’s when they let their guard down. The real one of a kind story starts now. Introduce a small area where it sounds like things are stopping then leave the machine on while recording. Never turn it off until they’ve left the studio or hung up the phone. They’re always going to say something. If you’ve given them enough room to breathe. I got into this way of recording back in the 90’s because all of these famous artists would step into the studio and say the best things and because didn’t have the microphone on I missed out on a very unique opportunity. Every person that steps into the room will see the recording light on. That’s the universal signal of somethings hot and it’s being recorded or the light wouldn’t be on. As the producer you return to the front before all the formal hellos and how are yous and make it part of the conversation. Get creative. I’ve only had three or four people send me an email asking that I don’t use that part of the conversation. I play along. OK cool and the relationship doesn’t get damaged. So what’s the moral of the story? I get it your podcast is the greatest thing since the invention of pasta meeting sauce. Promoters are ready to work with you if you’ve got the space to create with them. Another words. If Paul McCartney is only available at 9:32 it’s a yes or no question. You can do it or you don’t. Once you land it don’t walk into the conversation thinking your episodes are more mighty then the winds that shake the mile high bridge on Grandfather Mountain in North Carolina. Every person you talk with has something to sell. Put your focus on the present without getting into a conversation about the past that listeners already know about. I wouldn’t want to talk to Paul McCartney about the Beatles or Wings. I wanna know about his first children’s book Hey Granddude. I want to hear the childlike voice he uses while reading it young people. They don’t know of his historic lie and style but in that moment where he’s reading the dude can paint a funny face!!!

Pod-Crashing Episode 51: The Depth Of The Interview First. I’m not a fan of the word interview. Why I chose to hoist it into the title is totally trying to spend less time having to explain what it is I do. I always say, “Let’s have a conversation!” People are like, “OK what about?” “No No No… lets do an interview.” “Ohhhhhhhh” I get in a lot of verbal wrestling matches with friends, family, social media connections and whomever else happens to walk on my lawn. My passion. It gets in the way of everything. Interviewing creative people is one such place. I have a huge passion and drive to get into a conversation. It’s always worth fighting for. Between 1979 to 2012 I did what every program direction and radio consultant told me what to do. 95% of the time I still believe they were wrong. I dreamed of the day when I could take them on a true journey through the creative self I was and still am. But it wasn’t about me. It was their station and their livelihood and my job was to participate or locate a new place to plug in my earphones. With podcasting I am everything they once were. I play by the very rules they stamped into my noggin. Yes I’m very strict on myself and believe in showing up every day to bring forward a product that nearly 1.1 million listeners have tapped into. I stand before you confessing that no matter how crazy those decision makers made me, I wouldn’t be where I am with podcasting if they hadn’t been present. As a podcaster you are your own boss. You are the writer, voice over talent, producer, promotions director and Operations Manager keeping every personality glued on the plan and purpose. This didn’t happen overnight. The walk has been incredibly lonely and filled with a lot of strikeouts at the plate. During this Coronavirus breakdown and job loss point on the map I expect more terrestrial radio people to make their way to the digital stage. You can’t turn off being a Broadcaster. It’s worse than an itch in the center of your back and you can’t reach it. I’m approached everyday by podcast promoters. Not one or two. Mega amounts of great writers and speakers that claim they’ve got the free ticket to the fountain of youth. “I can get you real people! Lots of them!” My general response is, “Please send me your podcast. I’d like to listen to your episodes and go to the sites to watch how people pick them up.” I never get an email with a podcast attached. A promoter the other day wrote, “Your episodes only appear on one platform correct?” Keep in mind this is someone trying to get my business. Very calmly I replied, “Please listen to every interview. The way I ask questions and how I bring in several different subjects. As the writer, talent and producer I need each episode to reach five to fifteen different podcasts.” Sounds like I’m a smartass right? I’m not trying to be. I need to play a smart game and that requires me to take the time to educate anyone walking by. The goal is to drop the ego and the door because out there in the real world nobody cares about the passion I put into every question. They’ve got a job to do and right now with the global shutdown everyone thinks they’re a podcast promoter. In talking with other podcasters and their performances the average person can pretty much see that those of us broadcasting are pretty much convinced that we’re locked in on the next big thing. I remember Gene Simons of KISS telling me, “If you don’t act like it’s bigger than life nobody will think it’s bigger than life.” Back to the original thought. The depth of the interview. Everything I get into is on a time limit. I’m not Marc Maron of Howard Stern lucky. I get 7 to 20 minutes then you’ve got to bail. I love it when the producers step through the restraint and say, “Take 30 or 40.” And I’ve only prepped for 7. That means the voice over talent is gonna have to listen to everything being said and bring new questions into the conversation by what was said. Question their answers. Always try your best to end your interviews or episodes with depth. If the time keeper says you need to be out at 1:18 then you need to begin wrapping up at 1:16. Taking an interview over that line is going to earn you an email from the promoter. Or they aren’t going to send another invite. Plus having a solid question with two minutes to go allows the person you’re talking with to think the conversation is pretty much over and that’s when they let their guard down. The real one of a kind story starts now. Introduce a small area where it sounds like things are stopping then leave the machine on while recording. Never turn it off until they’ve left the studio or hung up the phone. They’re always going to say something. If you’ve given them enough room to breathe. I got into this way of recording back in the 90’s because all of these famous artists would step into the studio and say the best things and because didn’t have the microphone on I missed out on a very unique opportunity. Every person that steps into the room will see the recording light on. That’s the universal signal of somethings hot and it’s being recorded or the light wouldn’t be on. As the producer you return to the front before all the formal hellos and how are yous and make it part of the conversation. Get creative. I’ve only had three or four people send me an email asking that I don’t use that part of the conversation. I play along. OK cool and the relationship doesn’t get damaged. So what’s the moral of the story? I get it your podcast is the greatest thing since the invention of pasta meeting sauce. Promoters are ready to work with you if you’ve got the space to create with them. Another words. If Paul McCartney is only available at 9:32 it’s a yes or no question. You can do it or you don’t. Once you land it don’t walk into the conversation thinking your episodes are more mighty then the winds that shake the mile high bridge on Grandfather Mountain in North Carolina. Every person you talk with has something to sell. Put your focus on the present without getting into a conversation about the past that listeners already know about. I wouldn’t want to talk to Paul McCartney about the Beatles or Wings. I wanna know about his first children’s book Hey Granddude. I want to hear the childlike voice he uses while reading it young people. They don’t know of his historic lie and style but in that moment where he’s reading the dude can paint a funny face!!!

Pod-Crashing Episode 51: The Depth Of The Interview First. I’m not a fan of the word interview. Why I chose to hoist it into the title is totally trying to spend less time having to explain what it is I do. I always say, “Let’s have a conversation!” People are like, “OK what about?” “No No No… lets do an interview.” “Ohhhhhhhh” I get in a lot of verbal wrestling matches with friends, family, social media connections and whomever else happens to walk on my lawn. My passion. It gets in the way of everything. Interviewing creative people is one such place. I have a huge passion and drive to get into a conversation. It’s always worth fighting for. Between 1979 to 2012 I did what every program direction and radio consultant told me what to do. 95% of the time I still believe they were wrong. I dreamed of the day when I could take them on a true journey through the creative self I was and still am. But it wasn’t about me. It was their station and their livelihood and my job was to participate or locate a new place to plug in my earphones. With podcasting I am everything they once were. I play by the very rules they stamped into my noggin. Yes I’m very strict on myself and believe in showing up every day to bring forward a product that nearly 1.1 million listeners have tapped into. I stand before you confessing that no matter how crazy those decision makers made me, I wouldn’t be where I am with podcasting if they hadn’t been present. As a podcaster you are your own boss. You are the writer, voice over talent, producer, promotions director and Operations Manager keeping every personality glued on the plan and purpose. This didn’t happen overnight. The walk has been incredibly lonely and filled with a lot of strikeouts at the plate. During this Coronavirus breakdown and job loss point on the map I expect more terrestrial radio people to make their way to the digital stage. You can’t turn off being a Broadcaster. It’s worse than an itch in the center of your back and you can’t reach it. I’m approached everyday by podcast promoters. Not one or two. Mega amounts of great writers and speakers that claim they’ve got the free ticket to the fountain of youth. “I can get you real people! Lots of them!” My general response is, “Please send me your podcast. I’d like to listen to your episodes and go to the sites to watch how people pick them up.” I never get an email with a podcast attached. A promoter the other day wrote, “Your episodes only appear on one platform correct?” Keep in mind this is someone trying to get my business. Very calmly I replied, “Please listen to every interview. The way I ask questions and how I bring in several different subjects. As the writer, talent and producer I need each episode to reach five to fifteen different podcasts.” Sounds like I’m a smartass right? I’m not trying to be. I need to play a smart game and that requires me to take the time to educate anyone walking by. The goal is to drop the ego and the door because out there in the real world nobody cares about the passion I put into every question. They’ve got a job to do and right now with the global shutdown everyone thinks they’re a podcast promoter. In talking with other podcasters and their performances the average person can pretty much see that those of us broadcasting are pretty much convinced that we’re locked in on the next big thing. I remember Gene Simons of KISS telling me, “If you don’t act like it’s bigger than life nobody will think it’s bigger than life.” Back to the original thought. The depth of the interview. Everything I get into is on a time limit. I’m not Marc Maron of Howard Stern lucky. I get 7 to 20 minutes then you’ve got to bail. I love it when the producers step through the restraint and say, “Take 30 or 40.” And I’ve only prepped for 7. That means the voice over talent is gonna have to listen to everything being said and bring new questions into the conversation by what was said. Question their answers. Always try your best to end your interviews or episodes with depth. If the time keeper says you need to be out at 1:18 then you need to begin wrapping up at 1:16. Taking an interview over that line is going to earn you an email from the promoter. Or they aren’t going to send another invite. Plus having a solid question with two minutes to go allows the person you’re talking with to think the conversation is pretty much over and that’s when they let their guard down. The real one of a kind story starts now. Introduce a small area where it sounds like things are stopping then leave the machine on while recording. Never turn it off until they’ve left the studio or hung up the phone. They’re always going to say something. If you’ve given them enough room to breathe. I got into this way of recording back in the 90’s because all of these famous artists would step into the studio and say the best things and because didn’t have the microphone on I missed out on a very unique opportunity. Every person that steps into the room will see the recording light on. That’s the universal signal of somethings hot and it’s being recorded or the light wouldn’t be on. As the producer you return to the front before all the formal hellos and how are yous and make it part of the conversation. Get creative. I’ve only had three or four people send me an email asking that I don’t use that part of the conversation. I play along. OK cool and the relationship doesn’t get damaged. So what’s the moral of the story? I get it your podcast is the greatest thing since the invention of pasta meeting sauce. Promoters are ready to work with you if you’ve got the space to create with them. Another words. If Paul McCartney is only available at 9:32 it’s a yes or no question. You can do it or you don’t. Once you land it don’t walk into the conversation thinking your episodes are more mighty then the winds that shake the mile high bridge on Grandfather Mountain in North Carolina. Every person you talk with has something to sell. Put your focus on the present without getting into a conversation about the past that listeners already know about. I wouldn’t want to talk to Paul McCartney about the Beatles or Wings. I wanna know about his first children’s book Hey Granddude. I want to hear the childlike voice he uses while reading it young people. They don’t know of his historic lie and style but in that moment where he’s reading the dude can paint a funny face!!!

In this episode of the Bad Movie Night Podcast we talk about the sci-fi action movie starring one mustached Tom Selleck, evil Gene Simons and killer toasters... its Runaway (1984)! For our video show and other episodes please visit www.Bad-Movie-Night.com Support our show! https://www.patreon.com/badmovienightshow   Film: Runaway Plot: In this advanced society, most homes have robots that perform everyday menial duties. Every so often, one malfunctions, and Sgt. Jack Ramsay (Tom Selleck), an expert in rogue machines, must deal with it. When he and his new partner, Karen Thompson (Cynthia Rhodes), investigate a robot-involved homicide, they discover strange computer chips. Rather than a malfunction, someone is programming the robots to kill. The police must find whoever is behind the murder before more harm is done. Director: Michael Crichton Year: 1984     Find Us On Social Media Facebook – http://www.facebook.com/badmovienightshow/ Twitter – http://twitter.com/_BadMovieNight Instagram – https://www.instagram.com/bad_movie_night/ Google+ – https://plus.google.com/102378654666304152117 Reddit - https://www.reddit.com/r/badmovienight  

My guest today is Pat Flynn from Westchester Pennsylvania. Pat is an author, fitness minimalist, business coach, guitarist and podcaster. He helps people do more with less and this is what our conversation is all about, the power of being a generalist, not a specialist. The world is obsessed with specialists: We’re often taught to specialise. Don’t try and be a jack-of-all-trades, but as Pat explains it’s better to be Good-To-Great at many things. You’ll achieve more by being a generalist For example, Jimmy Hendrix was a generalist, not a specialist. It was his breadth rather than depth of skill that made him so popular. He was a very good guitar player, but was not the best in the world. But Hendrix could also sing, write, perform and had amazing charisma. People loved him because he was a generalist. There’s a huge difference between a musician and specialist guitar player. Pat Flynn has never won a gold medal, or as he explained been the best at anything, but he’s good to great in many areas, such as fitness, writing, podcasting, guitar playing, advertising, copywriting, and business coaching. It’s the rule of 80 Percent. If you need to perform at 100% to be the best in the world, at anything, you only need to train, or learn for an hour a day to get 80% good at anything, but to get to 100% you need to train, or learn 8+ hours per day. It’s a much bigger commitment, and there’s still no guarantee you’ll be the best in the world, There’s many other factors that need to be taken into account. You can be a master at many things, without being the best in the world, and you can often miss out on so much of life by trying to be a specialist. The UFC is a perfect example. The current world champions in the UFC are good to great at many fighting techniques, because they have to be. They may start out as specialists, but they need to acquire other fighting skills to win. Life is very much like being an all rounder in the UFC than simply being a professional boxer. The reason humans are at the top of the food change is because we adapt, we’re generalists. We are not as strong as the gorilla, or as fast as a cheetah, but we are good to great in many areas of adaptation. Anyone can get to 80% in anything if they really want to, but it’s not easy, you still must put in the work. As kids growing up our parents told us we can be anything if we put your mind to it, but that’s not completely true, there are many other factors involved. But we can be good to great at anything if we really want to. We obsess over specialisation: Life is more accessible, successful and enjoyable when you’re OK with not being the best in the world. Think of the most popular actors in the world, such as Tom Hanks, he’s not the best actor in the world, he is a generalists, but he’s probably also be a great networker, communicator, negotiator and business person. Gene Simons and KISS were great showmen. Pink is another great example, and most people would say her shows are great; it’s not always about their singing. We only see the final product, not how good they are at all the behind the scene skills. Compared to a specialist violin player that doesn’t get the same crowds or recognition. Specialisation is a snare because it’s easier to measure, however with generalism you have to get away from thinking about exact measurements. Fitness should be there to improve your health, but with the pursuit of trying to specialise in one sport it can lead to imbalances and injuries. For example Power lifting and Cross Fit, if you do too much lit can lead to injury. A generalist can do activities in all areas and therefore have less injuries. Short term specialization, is when you spend a short period of time specialising and focusing in one area/activity and then you switch. Once the skills are learnt you can move on and it can be maintained with only a minimal amount of effort, or touching back on it again at a later date. Just like learning to ride a bike. To become a good to great generalist you need to be a short time specialist. You don’t have the time to learn everything at once…learning to write a book, play the guitar, or being a better speaker can’t all be done at the same time. It’s okay to learn a skill and let it slide a little, because you can bring that skill back up quite quickly when you need to call upon it. You should keep adding new skills by doing short-term specilisation and become more of a broad generalist. Business Applications: When you purchase new equipment or software, you must spend short-term specialisation to learn how it works and how it can best be used in your business. You learn it to 80%. FACEBBOK Advertising: Pat became a short term specialist when it first came out, so he could use it and be better at it than most people. So he’s not the best at FACEBOOK ads, there’s people who are far better, but that’s all they do. They are specialists and therefore limited in their skill set. FACBOOK LIVE: Being on camera is a skill you need to develop and being live is different to prerecorded video that can be edited later. FACEBOOK live is more like public speaking and learning the skill of thinking quick on your feet. Think of the most successful people in the world and you’ll see that they are all generalists. Even Michael Jordan went from a specialist to a generalist. He was a specialist scorer, but even then he never won a championship, but once he got better at leading his team, defense, supporting other team members, his team won the championship. As soon as he backed off a little from scoring…that’s what made the change. Take an Audit of your life: Understand what your naturally good at and what your passions are, and then develop further skills you need. Ask yourself, what skills do I need to learn to fill the gap towards my goals? You need to know your goals first. You need to know what you want, then go and learn the skills you need, using short-term specialisation. Be honest with yourself. Your current skill set has only got you so far. Now what other skills do you need to develop, up to 80%, to give you a competitive advantage. When your skills are stacked upon each other you will develop a lot of breadth and be good to great at many things. Skills you should develop: Networking, copywriting, advertising, writing, and public speaking, but you only need to go to 80%. Pat Flynn admits he’s not the perfect speaker, he still stumbles over his words, but who cares, his goal was to be good to great, not a specialist. You can connect with Pat Flynn at patflynn@chroniclesofstrength.com or via his FACEBOOK page www.facebbook.com/chroniclesofstrength Pat Flynn’s website: www.chroniclesofstretch.com and www.101kettlebellworkouts.com The Pat Flynn Show on iTunes: https://itunes.apple.com/us/podcast/the-pat-flynn-show/id1253261458?mt=2 I hope you enjoyed this episode and if you want to read more, or listen to other episodes please email me at tf@tysonfranklin.com or visit my website https://www.tysonfranklin.com My latest book It’s No Secret There’s Money In Small Business is now available on Amazon, Book Depository and other online book sellers. Book Depository does deliver freight FREE worldwide.  If you live in Australia you can also order my book from most local bookstores. 

This week we talk creapy pasta! A girl who puts Gene Simons to Shame! More Phobias, who knew there were so many? And some words I can't pronounce! Over 9000!

Humanitarian Radio interview with with Frank Mcllquham The Rock Club / Rock For Vets On Oct 21st, 2013 Please go to www.TheRockClub.net and  vote for Rock for Vets as they have a chance to win a Free Car for their organization. www.TheRockClub.net Frank@theRockClub.net Office 866-597-1116