Podcast appearances and mentions of George Brown

The Ontario college system was created 60 years ago. How has it changed since its inception, and how will it face its current challenges? We discuss with Ann Marie Vaughan, Lyn Whitham, Maureen Adamson, and Martin Regg Cohn.See omnystudio.com/listener for privacy information.

Well, I didn't see this one coming... In this deeply personal episode, I share the whole story behind my recent academic appeal to George Brown College after being declined admission to the S305 Honours Bachelor of Science in Dental Hygiene Degree Completion program in October 2024. The original reasoning was that 21-year-old Irene went to the "wrong" school 17 years ago. One that didn't prepare 39-year-old Irene for the academic journey of an online degree completion program. This episode covers every step of the journey, from the initial application process to receiving the decision and ultimately crafting my formal appeal. I also read the full appeal letter and reflected on what it means to advocate for yourself, especially in an academic setting. Whether you're a dental professional considering a degree completion program or someone who's ever felt the weight of rejection and the courage it takes to respond, this episode is for you. Let's discuss the complexities of higher education, professional growth, and the sometimes nonlinear paths we must take. What you'll hear in this episode: Why I applied to the S305 Bachelor's program  The Initial reasons why I was declined and the reasoning The challenges and emotions that followed A full reading of my written appeal Unfortunately, a pathway doesn't exist; worse, one needs to be planned. Other institutions in Canada have the same program without the limitations of where you went to school to achieve the same license by the same accreditation board. I have thoughts about this and will post a part 2 with them soon.   If you made it all the way down here, hit a like and share a comment. Until next time, Peace out peeps! ✌️ _______________________________________

On the May 19 WBGO Journal, we take an in-depth look at the late George Brown's Jazz in Paris album and NJPAC celebrates the 90th birthday of former NJ Governor Tom Kean

Donald Trump's Liberation Day roiled markets and caused a seismic shift in expectations for global trade and the economy. His subsequent 90-day pause on tariffs and perennial hunt for deals have created uncertainty and left investors wondering, what next? In this webinar, we'll discuss just that. Bob Kaynor, our Head of US Small and Mid Cap Equities, gives his insights from the frontline on both Wall Street and Main Street. Alex Tedder, CIO (Equities), will reflect on where to find opportunities under the new world order. Finally, George Brown, our Economist, will discuss the effect Trump's policies may have on the broader economy. Stu Podmore, Investment Propositions Director, will be your host. NEW EPISODES: The Investor Download is available every other Thursday and will be released at 1700 UK time. You can subscribe via Podbean or use this feed URL (https://schroders.podbean.com/feed.xml) in Apple Podcasts and other podcast players. GET IN TOUCH: mailto: Schroderspodcasts@schroders.com find us on Facebook send us a tweet: @Schroders using #investordownload READ MORE: Schroders.com/insights LISTEN TO MORE: schroders.com/theinvestordownload Important information. This information is not an offer, solicitation or recommendation to buy or sell any financial instrument or to adopt any investment strategy. Any reference to sectors/countries/stocks/securities are for illustrative purposes only and not a recommendation to buy or sell any financial instrument/securities or adopt any investment strategy. Any data has been sourced by us and is provided without any warranties of any kind. It should be independently verified before further publication or use. Third party data is owned or licenced by the data provider and may not be reproduced, extracted or used for any other purpose without the data provider's consent. Neither we, nor the data provider, will have any liability in connection with the third party data. Reliance should not be placed on any views or information in the material when taking individual investment and/or strategic decisions. The views and opinions contained herein are those of individual to whom they are attributed, and may not necessarily represent views expressed or reflected in other communications, strategies or funds. The value of investments and the income from them may go down as well as up and investors may not get back the amounts originally invested. Exchange rate changes may cause the value of any overseas investments to rise or fall. Past Performance is not a guide to future performance and may not be repeated. The forecasts included should not be relied upon, are not guaranteed and are provided only as at the date of issue. Our forecasts are based on our own assumptions which may change. Issued by Schroder Investment Management Limited, 1 London Wall Place, London EC2Y 5AU. Registered No. 1893220 England. Authorised and regulated by the Financial Conduct Authority.

In episode eight, we return to the George Brown College Labour Fair and a discussion with Ontario Federation of Labour president Laura Walton and chief steward and second vice president of OPSEU/SEFPO Local 556 Jeff Brown. We discuss the multiple issues facing the labour movement, union priorities and, in this age of polycrisis, what exactly we are working for. Speaking to the upcoming federal elections, Walton says: “I think we all can agree it's not going to be an NDP federal government. It's either gonna be Liberals or Conservatives. And I call them cancer and chemo; one's gonna kill you, the other one's gonna make you sick. We're going to be under, in Ontario, two governments that are not worker friendly, both federally and provincially. And it's going to be incumbent on workers to really embrace organizing principles … Now's not the time to be quiet. Now's the time that we're going to have to join our voices together to really push back." Reflecting on the how the trade war may impact already underfunded Ontario colleges, Brown says: “The colleges extend into so many fields in our province. Obviously healthcare, nursing community workers, but also things like all the skilled trades, forestry, aviation. I mean, these are the workers in communities that are the backbone of our economy … and the concern that being this underfunded, now with this trade war … the provincial government will use this as an excuse to further starve the system.” About today's guests:  Laura Walton is the president of the Ontario Federation of Labour (OFL) Canada's largest provincial labour federation. Walton served as president of the Canadian Union of Public Employees' Ontario School Boards Council of Unions (OSBCU) starting in 2019. She also served on the CUPE Ontario Executive Board. With a firm belief in the equalizing power of inclusive public education, Walton led her 55,000 coworkers across Ontario to withdraw their labour for two days in November 2022 in protest of the Ford government using the notwithstanding clause to ram through legislation that imposed a contract on CUPE education workers. Previously she served as president of CUPE Local 1022 which represents the education workers of Hastings and Prince Edward County District School Board. Dr. Jeff Brown is an experienced educator, researcher, and labour activist.  He is a full-time professor in the Liberal Arts and Sciences department at George Brown College in Toronto and Chief Steward/2nd Vice-President of OPSEU Local 556, representing unionized faculty at George Brown.  He is also a member of the Ontario College Faculty Divisional Executive. Session Introduction & Audience Questions by: Ashley Booth Transcript of this episode can be accessed at georgebrown.ca/TommyDouglasInstitute.  Image: Laura Walton, Jeff Brown  / Used with permission. Music: Ang Kahora. Lynne, Bjorn. Rights Purchased.  Intro Voices: Ashley Booth (Podcast Announcer); Bob Luker (Tommy)  Courage My Friends podcast organizing committee: Chandra Budhu, Ashley Booth, Resh Budhu.  Produced by: Resh Budhu, Tommy Douglas Institute and Breanne Doyle, rabble.ca.  Host: Resh Budhu.

Kool and The Gang Keyboardist and Musical Director Curtis Williams joins Tavis in studio to discuss “Jazz in Paris,” a posthumous jazz project from Kool & The Gang's co-founder George Brown, and the upcoming one-night-only performance of his friends and collaborators.Become a supporter of this podcast: https://www.spreaker.com/podcast/tavis-smiley--6286410/support.

This episode is dedicated to our own version of ‘Pote Madness' ! Stephen A. Sip [@sse_sip] ,Nevatell [@nevatell] , & Cambino [@coastboymook] and Jaytona [@jaytona4000] welcome back Pote Potna turned recent Georgia State Champion , Coach G (@georgetimes5) ! Grab some concessions & join the show as the legendary leader details the historic GA Class A Division II Championship game double digit 4th quarter comeback ! The guys help celebrate him & his stellar squad with a couple shots so they can get to the real Q&A . They begin w/ his secret formula to the long season being ranked #1 in the State of Georgia Basketball , The Love/Hate chatter , Exclusive Early Retirement Announcement ? and so much more ! Recorded : 3/16/25

This episode is dedicated to our own version of ‘Pote Madness' ! Stephen A. Sip [@sse_sip] ,Nevatell [@nevatell] , & Cambino [@coastboymook] and Jaytona [@jaytona4000] welcome back Pote Potna turned recent Georgia State Champion , Coach G (@georgetimes5) ! Grab some concessions & join the show as the legendary leader details the historic GA Class A Division II Championship game double digit 4th quarter comeback ! The guys help celebrate him & his stellar squad with a couple shots so they can get to the real Q&A . They begin w/ his secret formula to the long season being ranked #1 in the State of Georgia Basketball , The Love/Hate chatter , Exclusive Early Retirement Announcement ? and so much more ! Recorded : 3/16/25

This episode highlights the 2025 GHSA Basketball Championships and features interviews with coaches Chaz Clark of Butler, George Brown of Savannah High, and Kassie Scott of Cherokee Bluff. Clark discusses his team's victory and what it means to the Butler community, Brown talks about the challenges of playing a familiar opponent in the championship game, and Scott shares her experience as a head coach with a husband who is also a head coach.

In Conversation W/ Prof_ Chris Kim George Brown on use of @_GenAI in @_PSE Date: August 1st, 2024

George Brown is the executive director of the Highlights Foundation, scion to the Myers family, which created Highlights Magazine. The Highlights Foundation runs workshops for small groups of authors and illustrators in its bucolic surroundings, the homestead of Garry and Caroline Myers, who co-founded Highlights for Children in 1946. George discusses his fascination with children's books and the people who create them, offering tips based on his lifelong experience. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

George Brown is the executive director of the Highlights Foundation, scion to the Myers family, which created Highlights Magazine. The Highlights Foundation runs workshops for small groups of authors and illustrators in its bucolic surroundings, the homestead of Garry and Caroline Myers, who co-founded Highlights for Children in 1946. George discusses his fascination with children's books and the people who create them, offering tips based on his lifelong experience. Learn more about your ad choices. Visit megaphone.fm/adchoices

"Not another election pod," I hear you cry. Don't worry, we don't dwell on the ins and outs of the result. This pod is purely about what the outcome means for investors. Listen to Adam Farstrup, Head of Multi-Asset for the Americas, and George Brown, Global Economist, give their verdict on what investors should expect. RUNNING ORDER: 01:07 - Part one: the investor's verdict on the Trump win 05:49 - Part two: how it will affect the global economy NEW EPISODES: The Investor Download is available every other Thursday and will be released at 1700 UK time. You can subscribe via Podbean or use this feed URL (https://schroders.podbean.com/feed.xml) in Apple Podcasts and other podcast players. GET IN TOUCH: mailto: Schroderspodcasts@schroders.com find us on Facebook send us a tweet: @Schroders using #investordownload READ MORE: Schroders.com/insights LISTEN TO MORE: schroders.com/theinvestordownload Important information. This information is not an offer, solicitation or recommendation to buy or sell any financial instrument or to adopt any investment strategy. Any reference to sectors/countries/stocks/securities are for illustrative purposes only and not a recommendation to buy or sell any financial instrument/securities or adopt any investment strategy. Any data has been sourced by us and is provided without any warranties of any kind. It should be independently verified before further publication or use. Third party data is owned or licenced by the data provider and may not be reproduced, extracted or used for any other purpose without the data provider's consent. Neither we, nor the data provider, will have any liability in connection with the third party data. Reliance should not be placed on any views or information in the material when taking individual investment and/or strategic decisions. The views and opinions contained herein are those of individual to whom they are attributed, and may not necessarily represent views expressed or reflected in other communications, strategies or funds. The value of investments and the income from them may go down as well as up and investors may not get back the amounts originally invested. Exchange rate changes may cause the value of any overseas investments to rise or fall. Past Performance is not a guide to future performance and may not be repeated. The forecasts included should not be relied upon, are not guaranteed and are provided only as at the date of issue. Our forecasts are based on our own assumptions which may change. Issued by Schroder Investment Management Limited, 1 London Wall Place, London EC2Y 5AU. Registered No. 1893220 England. Authorised and regulated by the Financial Conduct Authority.

College & Connections Director, George Brown, teaches from Philippians 4 in the start of Phoenix Bible Church's new series entitled, "Let's Talk About It!"

Margaret reads you a classic sci-fi tale of a marriage on Mars gone wrong.See omnystudio.com/listener for privacy information.

Serial entrepreneur Chris Jones, Founder and President of CANNABIS XPRESS, a leading chain of cannabis retail stores started in Ontario, is back on the podcast to tell us his adventure of expanding his successful store concept to small-town New Brunswick, one of the most innovative markets in Canada. About ChrisChris Jones is an entrepreneur and cannabis industry executive. He is currently the Founder and President of CANNABIS XPRESS, a leading chain of 13 cannabis retail stores in Ontario and New Brunswick, Canada.Previously, he founded another cannabis retail company in Ontario and sold it after it hit a run rate of approximately $15 million via an all-cash sale to a public company. Before entering the retail industry, he was actively involved in and led multiple acquisitions and investments ranging from several million to over a billion dollars during his time at Origin House, later acquired by a top US-based multi-state operator - Cresco Labs.Chris has also developed and taught classes at George Brown College through their School of Continuing Education. One of them more recently was called Cannabis Business Strategy, which includes a lineup of coveted guest speakers such as Bruce Linton (Founder of Canopy Growth Corporation – which was previously the largest cannabis company in the world by market capitalization). He currently teaches a management course at George Brown called Management Fundamentals.Before that, he built his finance and business development experience at two global construction companies based in Canada: EllisDon and Aecon. Additionally, he led business development and negotiations for a boutique trial-focused law firm in Toronto.Outside of work, Chris travels, takes language courses in Spanish, walks his dog, enjoys the outdoors, and is undefeated in Muay Thai. He obtained his Master of Business Administration from McMaster University's DeGroote School of Business and a Bachelor of Commerce from Ryerson University's Ted Rogers School of Management.You can reach Chris at christopher.lloyd.jones1@gmail.com  About MichaelMichael is the president and founder of M.E. LeBlanc & Company Inc, a senior retail advisor, keynote speaker and media entrepreneur. He has been on the front lines of retail industry change for his entire career. He has delivered keynotes, hosted fire-side discussions and participated worldwide in thought leadership panels, most recently on the main stage in Toronto at Retail Council of Canada's Retail Secure conference with leaders from The Gap and Kroger talking about violence in retail stores, keynotes on the state & future of retail in Orlando and Halifax, and at the 2023 Canadian GroceryConnex conference, hosting the CEOs of Walmart Canada, Longo's and Save-On-Foods Canada. Michael brings 25+ years of brand/retail/marketing & eCommerce leadership experience with Levi's, Black & Decker, Hudson's Bay, Pandora Jewellery, The Shopping Channel and Retail Council of Canada to his advisory, speaking and media practice.Michael also produces and hosts a network of leading retail trade podcasts, including the award-winning No.1 independent retail industry podcast in North America, Remarkable Retail, Canada's top retail industry podcast; the Voice of Retail; Canada's top food industry and the top Canadian-produced management independent podcasts in the country, The Food Professor, with Dr. Sylvain Charlebois. Rethink Retail has recognized Michael as one of the top global retail influencers for the fourth year in a row, Coresight Research has named Michael a Retail AI Influencer, and you can tune into Michael's cooking show, Last Request BBQ, on YouTube, Instagram, X and yes, TikTok.Available for keynote presentations helping retailers, brands and retail industry insiders explaining the current state of the retail industry in Canada and the U.S., and the future of retail.

Cape Governor Harry Smith had made his escape from Fort Cox to King Williams' Town, and was now hoping for help in the form of 3000 Zulu warriors. The British had mucked things up on the frontier, and most of their old allies the Khoekhoe of the Kat River Settlement had decided to rise up, along with the amaXhosa. The Boers were also not in any mood to send help, in fact, the destabilisation was in their favour, it drew English troops away from the transOrangia Region. Mlanjeni the prophet had told the Xhosa that this was the time to drive the English into the sea - and Maqoma the amaRharhabe chief of the amaNhlambe was all to ready to do just that. It was new Year, 1851. In a few days, the Taiping Rebellion - or Civil War as some call it - would begin in China. And like the uprising in the Cape, a man who claimed super powers was behind this war in Asia. Hong Xiuquan was an ethnic Hakka man who claimed to be related to Jesus Christ and was trying to convert the local Han people to his syncretic version of Christianity. Xiuquan was trying to overthrow the Qing dynasty and the Taiping rebels were hell bent on should I say, heaven bent on upending the entire country's social order. Eventually the Taiping Heavenly Kingdom based in Nanjing managed to seize a significant portion of southern China. It was to become the bloodiest war of the 19th Century, lasting 14 years. Back on the eastern Cape frontier, the settlers were facing the amaXhosa rage and fury, frustration that had built up over generations burst into the 8th Frontier War. Maqoma had warned the errant missionary George Brown that a war was coming of cruelty never seen before in southern AFrica. Some called it the first war of colour, a general war of the races. The Kat River people rebelled, some Khoekhoe soldiers rebelled, some of the famous Cape Mounted Rifles men mutinied, the amaThembu people under Maphasa, so important to Xhosa tradition, joined the Xhosa. amaNhlambe chief Siyolo, the best soldier amongst the amaXhosa, had cut off the road between King WilliamsTown and Grahamstown. And yet, in this frontier war it wasn't just black versus white - oh no. As you'll hear, Black South Africans fought for the British, and there were incidents of British soldiers who mutinied and joined the amaXhosa. amaNgqika men upset at how they'd been treated by their own countrymen worked for the colonists in this war, not the mention the amaMfengu people who the amaXhosa regarded as illegal immigrants on their land - there was no love lost between these two either. To merely describe this war as blacks versus whites is to commit historical incongruity. Sandile met with Maqoma in the first days of 1851 in order to work out a series of offensive moves against the British. Hermanus Matroos, who you met last episode was leading a powerful battalion sized group of amaXhosa and Khoesan fighters. Willem Uithaalder, former Cape Mounted Rifles cavalryman, was also fighting the British — his knowledge about how to go about focusing attacks was key.

On Friday, August 16th, Phoenix Bible lead pastor Tim Birdwell kicked off the monthly Big Boys on Campus prayer breakfast by breaking down the Northwest Christian annual spiritual emphasis theme verse, John 8:12:  "Again, Jesus spoke to them, saying, 'I am the light of the world. Whoever follows me will not walk in darkness, but will have the light of life.'"The BBOC devotion itself was, as per Tim's inimitable and inspiring norm, amazing.  But, there were people in the room that morning that new, for Tim and his family, following Christ's plan and persisting in a path illuminated by light, has not been easy.  So, following BBOC, G and Geoff sit with Tim, as well as George Brown (Phoenix Bible's Director of College and Connections and Geoff's son/NCS alumni, Class of 2016) and work through the special significance of John 8:12 for Tim.For more information regarding Phoenix Bible Church, please follow this link.To learn more about Tim Birdwell, please click here.To get to know George Brown, follow this link. "Kingdom Culture Conversations" is a podcast created through Frameworks, a Biblical worldview initiative of Northwest Christian School.For more information on Frameworks, please visit: https://frameworks.ncsaz.org/For more information on Northwest Christian School, visit: https://www.ncsaz.org/To reach out to Geoff Brown, please email gbrown@ncsaz.org or you can reach him by cell phone: (623)225-5573.

It's been a wild couple of weeks in the build up to the US election. So we invited Economist, George Brown, and Head of Multi-Asset , Americas, Adam Farstrup to discuss the impact of events that have unfolded. We also talk about the likely outcomes in the race for the White House and control of Congress, and what they mean for the economy and markets. RUNNING ORDER: 00:21 - Part one: what the polls and bookies are telling us 06:48 - Part two: the race for congress 11:50 - Part three: what it means for markets and the economy NEW EPISODES: The Investor Download is available every other Thursday and will be released at 1700 UK time. You can subscribe via Podbean or use this feed URL (https://schroders.podbean.com/feed.xml) in Apple Podcasts and other podcast players. GET IN TOUCH: mailto: Schroderspodcasts@schroders.com find us on Facebook send us a tweet: @Schroders using #investordownload READ MORE: Schroders.com/insights LISTEN TO MORE: schroders.com/theinvestordownload Important information. This information is not an offer, solicitation or recommendation to buy or sell any financial instrument or to adopt any investment strategy. Any reference to sectors/countries/stocks/securities are for illustrative purposes only and not a recommendation to buy or sell any financial instrument/securities or adopt any investment strategy. Any data has been sourced by us and is provided without any warranties of any kind. It should be independently verified before further publication or use. Third party data is owned or licenced by the data provider and may not be reproduced, extracted or used for any other purpose without the data provider's consent. Neither we, nor the data provider, will have any liability in connection with the third party data. Reliance should not be placed on any views or information in the material when taking individual investment and/or strategic decisions. The views and opinions contained herein are those of individual to whom they are attributed, and may not necessarily represent views expressed or reflected in other communications, strategies or funds. The value of investments and the income from them may go down as well as up and investors may not get back the amounts originally invested. Exchange rate changes may cause the value of any overseas investments to rise or fall. Past Performance is not a guide to future performance and may not be repeated. The forecasts included should not be relied upon, are not guaranteed and are provided only as at the date of issue. Our forecasts are based on our own assumptions which may change. Issued by Schroder Investment Management Limited, 1 London Wall Place, London EC2Y 5AU. Registered No. 1893220 England. Authorised and regulated by the Financial Conduct Authority.

Episode 180 it is then so let's get cracking. Or crackling, which was the atmosphere in late 1850 as Xhosaland and British Kaffraria was seized by the exploits of prophet Mlanjeni. He'd combined world views, his messianic emergence shook the land as far away as Cape Town. AS a sickly young man from near King Williams Town, he'd disappeared to work in the Cape Colony and returned in 1850 claiming to have been living under the sea. Not quite Sponge Bob because unlike that loveable kids character, Mlanjeni said it was during his stint underwater that God spoke to him. You'll remember how I explained that Mlanjeni took to sitting in pools in nearby rivers and streams, the water lapping against his face as he sat deep in thought. At first he seemed to be in sync with the missionaries and the Governor Harry Smith, saying the amaXhosa should abandon witchcraft, avoid raiding settler cattle and so on. However his message morphed as I explained, and very soon he was exorting his numerous adherents to stop burning the wood of gum trees — an invasive species — he believed the exotic tree symbolised white influence. Word spread, and some began saying that Mlanjeni had miraculous powers, he could light his pipe from the sun, he wore his face on one cheek so he could spot witches and paralyse them. When the missionaries heard that he was also saying that he could heal the sick, give sight to the blind, to make the mute speak and the lame walk. He refused to accept gifts, and the chiefs and commoners streamed to his home. Then the British tried to arrest him and he disappeared, thus growing more power in the eyes of his adherents. We need to focus on these religious matters, so a quick return to the men in black. The missionaries were in a spot. Robert Niven of the United Presbyterian Church was holding forth in Keiskamma hoekDown the road was a man who you could say was taking his position as missionary into the missionary position. George Brown lived on the plains below the Amatolas, not far from the Thyumi valley, arriving in early 1849. At first people noted how he had a kind and manly appearance. But very soon, however, the manly appearance took on a reverential lust — a scandalous man as you'll hear. But first, he seduced the young Janet Chalmers, William Chalmers daughter, and John Forbes Cumming hated him so much for this act, that the two men spoke only through letters. Brown was forced to marry Janet Chalmers in August 1850, five months pregnant.Harry Smith by now was on the frontier, and Sandile's mother Sutu who was Ngqika's widow, went to the Thyumi mission station on 9th December to speak with him. She asked why the English wanted another war. Smith said that the chiefs were not paying fines and she warned “You have taken away all my power, you take away the power of the chiefs, and then you find fault with us for not keeping the people in order…” Christmas Eve was the date selecte by Harry Smith as the day his intimidatory force as Noel Mostert Called it, up the Boma Pass into the Amatola mountains. It was exactly sixteen years to the day of the outbreak of the Frontier War of 1834.

Director of College and Connections, George Brown, teaches from Matthew 11 in Week 6 of Phoenix Bible Church's series entitled, "We are PBC".

Listen Ad Free https://www.solgood.org - Listen to hundreds of audiobooks, thousands of short stories, and meditative sounds.

Today I sit down with someone who shares many of our same beliefs and introspective nature in terms of conservation and the longevity of the fishery. One of the things that sets him apart is the method of capture. George Brown is a STX local who's passion quickly became hunting underwater. Enjoy.

Director of College & Connections, George Brown, teaches from Titus 3 in the closing of Phoenix Bible Church's series entitled, "Titus - A Godly Church In A Godless World".

ROBERT "KOOL" BELL of KOOL AND THE GANG spoke to Bill about the band history-music and Rock Hall Nominee - Sunday Announcement-American Idol - Robert "Kool" Bell, Ronald Bell, George Brown, Robert "Spike" Mickens, Claydes "Charles" Smith, James "J.T." Taylor, Dennis "Dee Tee" Thomas, Ricky Westfield

Which wineries are leading the way with vegan wines? How are some restaurants expanding into innovative vegan or vegetarian menus? What makes Riesling so versatile, especially with vegan dishes? In this episode of the Unreserved Wine Talk podcast, I'm chatting with Jennifer Huether and Priya Rao, authors of The Social Herbivore: Perfect Pairings For Plant-Based Cuisine. You can find the wines we discussed at https://www.nataliemaclean.com/winepicks   Giveaway One of you is going to win a copy of Priya Rao & Jennifer Huether's terrific book, The Social Herbivore: Perfect Pairings For Plant-Based Cuisine - the first book ever on plant-based food and wine matching. To qualify, all you have to do is email me at natalie@nataliemaclean.com and let me know that you've posted a review of the podcast. I'll choose one person randomly from those who contact me.  Good luck!   Highlights What surprised Jen about Riesling's versatility? What is Priya's favourite unexpected and daring pairing? Which recent advancements in the world of plant-based foods would Priya and Jen include in an updated edition of the Social Herbivore? How are some restaurants expanding into innovative vegan or vegetarian offerings? Which wineries are leading the way in producing vegan wines? What goes into vegan charcuterie and cheese? What is carbonic maceration, and how does it impact the taste and aroma of a wine? What were Priya and Jen's favourite vegan food and wine pairings? How do the differences between animal and plant proteins and fats affect wine pairings? How can you create a fun tasting experience to figure out the best wine pairings for spicy foods? What can you do to extend the shelf life of an opened bottle of wine?   Join me on Instagram, Facebook and YouTube Live Join the live-stream video of this conversation on Wed at 7 pm ET on Instagram Live Video, Facebook Live Video or YouTube Live Video. I want to hear from you! What's your opinion of what we're discussing? What takeaways or tips do you love most from this chat? What questions do you have that we didn't answer? Want to know when we go live? Add this to your calendar: https://www.addevent.com/calendar/CB262621   About Priya Rao A foodie and wine lover, Priya switched to a vegetarian diet in 1995 and then to a vegan one in 2011. She had previously hosted vegan food and wine events, appearing on Breakfast Television as a guest wine expert on 640AM and Rogers Daytime, and writing articles for Prince Edward County's Grapevine Magazine, and more. She is currently a contributor for Vineroutes.com on all things vegan food & wine.   About Jennifer Huether Jennifer's love affair and studies in wine started in her early twenties with taking an interest course at George Brown college. From there, she immediately leapt into the Sommelier Certification from ISG graduating top of class, then Diploma of Wine from WSET, followed by the Advanced Sommelier passing in 2005 and finally the Master Sommelier Exams-becoming Canada's first female Master Sommelier in 2011 graduating in Dallas Texas. Jennifer is one of thirty women Master Sommeliers in the world.         To learn more, visit https://www.nataliemaclean.com/276.

Are vegan wines better for our health? What three aspects of a wine determine whether it's vegan or not? How can you identify whether or not a wine is vegan by looking at the label? In this episode of the Unreserved Wine Talk podcast, I'm chatting with Jennifer Huether and Priya Rao, authors of The Social Herbivore: Perfect Pairings For Plant-Based Cuisine. You can find the wines we discussed at https://www.nataliemaclean.com/winepicks   Giveaway One of you is going to win a copy of Priya Rao & Jennifer Huether's terrific book, The Social Herbivore: Perfect Pairings For Plant-Based Cuisine - the first book ever on plant-based food and wine matching. To qualify, all you have to do is email me at natalie@nataliemaclean.com and let me know that you've posted a review of the podcast. I'll choose one person randomly from those who contact me.  Good luck!   Highlights How did Priya end up tasting an 1812 Madeira, and what was that experience like? Which Burgundy wine was responsible for Jennifer's most memorable wine moment? How has the plant-based movement influenced the wine industry's interest in vegan wine? What are the three aspects of wine that determine whether it's considered vegan? How are animals and animal products used in winemaking? What animal-free alternatives are used by vegan winemakers? How do vegetarian and vegan diets differ? Are there official symbols on a wine label that indicate whether it's vegan? Is there a connection between vegan wines and organic/ biodynamic wines? Are vegan wines better for our health? What's the difference between a plant-based and vegan diet? How does the book approach wine pairings? Which wines have the most versatility when paired with vegan dishes?   Join me on Instagram, Facebook and YouTube Live Join the live-stream video of this conversation on Wed at 7 pm ET on Instagram Live Video, Facebook Live Video or YouTube Live Video. I want to hear from you! What's your opinion of what we're discussing? What takeaways or tips do you love most from this chat? What questions do you have that we didn't answer? Want to know when we go live? Add this to your calendar: https://www.addevent.com/calendar/CB262621   About Priya Rao A foodie and wine lover, Priya switched to a vegetarian diet in 1995 and then to a vegan one in 2011. She had previously hosted vegan food and wine events, appearing on Breakfast Television as a guest wine expert on 640AM and Rogers Daytime, and writing articles for Prince Edward County's Grapevine Magazine, and more. She is currently a contributor for Vineroutes.com on all things vegan food & wine.   About Jennifer Huether Jennifer's love affair and studies in wine started in her early twenties with taking an interest course at George Brown college. From there, she immediately leapt into the Sommelier Certification from ISG graduating top of class, then Diploma of Wine from WSET, followed by the Advanced Sommelier passing in 2005 and finally the Master Sommelier Exams-becoming Canada's first female Master Sommelier in 2011 graduating in Dallas Texas. Jennifer is one of thirty women Master Sommeliers in the world.         To learn more, visit https://www.nataliemaclean.com/275.

With Canada facing crippling railway debts, political paralysis and dysfunction, and a looming security threat, George Brown proposes major constitutional change.

In The Beginning - In God's Image (George Brown) by Phoenix Bible Church

In this episode of Add To Cart, we checkout Dave Hack and George Brown, co founders of Creator Flow, a platform that connects brands with UGC-style Ad Creators. The founders saw a gap between those that have a need for social media ad content to be made and those with the talent, experience and availability to make it. They've filled their books with high quality Australian creators and are working with some pretty impressive clients - outfits like Shark Ninja, Who Gives A Crap and The Oodie. Links from the episode:Creator FlowHow to Create Social Video without Influencers with Creator Flow | #364Questions answered in the podcast:What is the weirdest thing you've ever bought online? Who is your favourite retailer? Which retail fad do you wish was history?Can you recommend a book or podcast that our listeners should immediately get into? Finish this sentence. The future of retail is… About your co-hosts: Dave Hack and George Brown from Creator FlowDave Hack and George Brown are the founders of Creator Flow, aiming to make getting user-generated content (UGC) easier than ever before. George's background in building Washbloc and Dave's understanding of the struggles faced by freelance creatives have led them to unite their expertise. Together, they help brands connect directly with UGC creators, ensuring a steady supply of engaging content while enabling creators to pursue their passion full-time.You can contact Dave at LinkedInYou can contact George at LinkedInAbout your host: Nathan Bush from Add To CartNathan Bush is a director, strategist and advisor. He has led eCommerce for businesses with revenue $100m+ and has been recognised as one of Australia's Top 50 People in eCommerce four years in a row. You can contact Nathan on LinkedIn, Twitter or via email.Please contact us if you: Want to come on board as an Add To Cart sponsor Are interested in joining Add To Cart as a co-host Have any feedback or suggestions on how to make Add To Cart betterEmail hello@addtocart.com.au We look forward to hearing from you! Hosted on Acast. See acast.com/privacy for more information.

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In this episode of Add To Cart, we are joined by Dave Hack and George Brown, co founders of Creator Flow, a platform that connects brands with UGC-style Ad Creators. The founders saw a gap between those that have a need for social media ad content to be made and those with the talent, experience and availability to make it. They've filled their books with high quality Australian creators and are working with some pretty impressive clients - outfits like Shark Ninja, Who Gives A Crap and The Oodie. Today, Dave and George get into the detail of exactly what UGC is and how it differs from influencer content. They share wisdom from both sides of the equation - how to produce great content and the must haves when briefing for UGC. We also get their predictions on where we're going to see most future disruption in this space. If you're keen to try the platform, sign up here https://creatorflow.au with the code ADDTOCART and you'll get 100 credits, courtesy of Dave and George. Links from the episode:Creator FlowShopify Plus (sponsored)Signet (sponsored)Questions answered:What criteria do you have for allowing creators on your platform?What are the top tips for creating great UGC?How should brands best brief a content creator?This episode was brought to you by… Shopify PlusSignetAbout your host: Nathan Bush from Add to CartNathan Bush is a director, strategist and advisor. He has led eCommerce for businesses with revenue $100m+ and has been recognised as one of Australia's Top 50 People in eCommerce four years in a row. You can contact Nathan on. LinkedIn, Twitter or via email.About your co-hosts: Dave Hack and George Brown from Creator FlowDave Hack and George Brown are the founders of Creator Flow, aiming to make getting user-generated content (UGC) easier than ever before. George's background in building Washbloc and Dave's understanding of the struggles faced by freelance creatives have led them to unite their expertise. Together, they help brands connect directly with UGC creators, ensuring a steady supply of engaging content while enabling creators to pursue their passion full-time.You can contact Dave at LinkedInYou can contact George at LinkedIn Hosted on Acast. See acast.com/privacy for more information.

Danny and Lee are this week joined by George Brown. This is the Christmas Special for 2023 - They start by discussing the fantastic home 4-0 victory against Swindon, talking about Ali and will he be off in Jan or the Summer? Is the recruitment all down to Craig Cope and who has been the better signing - Cope or Ali? They move on and Danny takes the lads on a magical memory tour with his quiz, who comes out on top Lee or George - you decide? They finish by previewing the very hectic Christmas schedule and how many points they hope we pick up during this time.We would like to wish all our listeners and very Merry Christmas and a fantastic New Year. We appreciate everyone who has taken the time out to listen to the pod and also a massive thanks to everyone that has gone involved. We are the only podcast for the fans by the fans and that's what makes us number 1 Hosted on Acast. See acast.com/privacy for more information.

Freddy Jay demolishes the mix with a stellar hiphop 50 set, then luxuriates in the soulful side with coolout vibes by Haile Supreme, X.Men, Sting and Rufus & Chaka Khan. Plus ill verses from the monotone master Sonnyjim, a latin break melee by Néstor Álvarez, and our tribute to Kool & The Gang's O.G. funky drummer George Brown. View the full playlist for this show at https://www.wefunkradio.com/show/1185 Enjoying WEFUNK? Listen to all of our mixes at https://www.wefunkradio.com/shows/

Get ready to hitch a ride to the wild frontier with tales from the legendary George W Brown, also known as Hoodoo Brown. Born under the Missouri skies in 1847, he invites us into his past, from fighting in the Union Army to life as a bullwacker, hauling wood for the government. His trailblazing tales are packed with excitement, danger, and the raw reality of frontier life. With every twist and turn, from dodging wild Texas steers to navigating treacherous wagon trips, we're right there with him.And the journey doesn't end there! The second half of our adventure features Jack Stilwell, a scout handpicked by Colonel George A Forsythe for a special operations unit. He takes us from being recruited at Fort Hays to the throes of intense battles, leaving us hanging on his every word. Jack's recollections of the Battle at Beecher's Island will make your heart pound and your mind spin. Then, it's back to George Brown as he teams up with Buffalo Bill and other scouts on a mission to clear the Republican region of Indians. These unmissable chronicles from the frontier will have you yearning for the wide open plains and the echo of cattle drives in the distance.Support the showReturn of the Great HuntersCattle Drives WebsiteLegends of Dodge City WebsiteOrder Books

AP Washington correspondent Sagar Meghani reports on Obit-Kool and the Gang Drummer.

What you'll learn in this episode: What the difference between an artist and a designer is The barriers that can make it difficult for solo jewelry artists to enter the retail market, and how Colette overcame them What Colette has discovered about her creative process by working with George Brown College psychology students on a research project Why it's important for artists to avoid looking at trends in stores and on social media too frequently How a spontaneous haircut sparked Colette's creativity and paved the way for her future business About Colette Harmon Colette Harmon's one-of-a-kind accessories are a dazzling blend of crystal, mixed metals and semi-precious stones. With an appreciation for meticulous craftsmanship, the metal meshing and intricate beadwork in each of her statement pieces are an audacious departure from mainstream minimalism. Born in Sisters Village, Guyana, Colette studied fashion design in Toronto before apprenticing as a belt and handbag designer for a leather goods manufacturer. Harmon soon founded her own eponymous label, whose name became synonymous with maximalist glamour. Harmon's modern approach to vintage flair has earned her a devoted following of customers, fans and fashion stylists from across North America. Her pieces have been sold in Saks Fifth Avenue and Holt Renfrew Canada, and her work has been featured in Elle Canada, Flare, Martha Stewart Weddings and Nylon. She currently focusses on one-of-a-kind couture creations for select clientele.    Additional Resources: Website Twitter Photos Available on TheJewelryJourney.com Transcript: Colette Harmon has seen many trends come and go over the course of her career, but she has never let that influence her work. She has always found an audience for her one-of-a-kind jewelry, even when her hallmark maximalism is supposedly “out.” She joined the Jewelry Journey Podcast to talk about why she defines herself as an artist; how she nurtures her creative vision; and how her job as a leather accessories designer led to jewelry (and how that experience may come full circle in the near future). Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com. Today, my guest is Colette Harmon, who is speaking to us from Canada. Toronto to be more specific. I have to say I've never met her, and I've never seen her jewelry in person, but it's my kind of jewelry. It's over-the-top kind of jewelry. You may have seen it on a celebrity on the stage or screen, but if you've seen it, you'd remember it. Welcome back. Do people bring the dresses? Do they bring the materials or some things? Colette: Yeah, sometimes they do. If they bring the actual garment, then I can see how the neckline falls and how the piece of jewelry would sit on the dress. Sharon: Has somebody, a client or a stylist, ever come and tried the dress on and you just didn't like the dress? Forget the necklace; you just didn't like the dress on them. Colette: Oh yeah, but if they're wearing it, I can't say, “I don't like your dress.” Yeah, there have been people who have. Sharon: You told us that you like the fact that people like your stuff, that's pleasing to you. Colette: Mm-hmm. Sharon: What are some of the bigger obstacles you've encountered besides sales, let's say? Colette: In terms of? Sharon: In terms of anything. Being in the business, what are some of the obstacles? Colette: I mentioned before I found wholesaling difficult. Being a small business, I found that doing wholesale was challenging at times. Just being a one-woman show can be tough at times. There were times when I had people helping me, but often when you're creating—as I'm working with the students at George Brown, it was difficult to tell someone because I don't sketch. I create as I'm going. They are helping me create these pieces, but it's difficult to tell someone what you're creating if it's in your head. A lot of times I might say to them, “O.K., do this this way,” and then they start doing it, and then I see something else and they have to undo it. It's easier for me to create the original piece and then have someone duplicate it, as opposed to having people helping me create something. Sharon: You said the college is George Brown. That's the university? Colette: Yeah, it's a college here in Toronto. They're doing a case study of me where they're studying my creative process and documenting how I create. Sharon: What's the first step they documented of you creating? Colette: The first session was just an interview of me and my background. The piece that we're working on now—I brought a bunch of materials. I had no idea what I was going to do with them. So, they're watching how I work and how I put things together. They're asking me questions as I go on, like why did I do this? They're documenting how I go from start to finish, if that makes any sense. Sharon: Are they talking to a lot of creative people? Colette: I think what happened was Leah saw my work on Instagram. I'm not sure how she found me. She found me on Instagram, but I'm not sure how she found my work on Instagram. She was really inspired. In her words, she said she was blown away by my pieces. Because we're both in Toronto and she's been in fashion for a number of years, she wondered why she didn't know who I was. So, she contacted me and I went to see her. She asked me to bring some of my pieces, so I did. Then she came up with this idea and approached the college for a grant. There's myself, her, and two students she recruited, and they're documenting my creative process. Like I said, there really isn't a creative process. I feel like—what's that word when they say that—people will find out I'm a fraud because there really isn't a creative process. I can make it sound more than what it is, but I just play. I think everybody has a gift, and my gift is just the way I put things together. There isn't anything technical. Sharon: Can you tell us more about what you see the end product being with these students? Colette: That's the thing; I have no idea. I could send you a picture of the piece I'm creating now. I can tell you a little bit about that, but it would be— Sharon: I'll talk to you after the podcast about what we need for pictures. I want my listeners to know that usually I have a picture of somebody, even though I only post the audio, but I don't even know what Colette looks like. Colette: Oh, I can send you a picture. Sharon: Are you the exotic-looking one in the ads? Colette: In the ads? Which ads? Sharon: The ads for the website, let's say. Colette: On my website? Sharon: Are you the model? Do you have a model? Colette: Sometimes I model. I'm not sure which images you're referring to, but I think there are one or two images of me on the website. There are a couple of me on Instagram. I wouldn't call myself a model, but I do model my jewelry on occasion. A number of the images of myself were taken by a friend of mine, a photographer whose name is Michael Chambers. I've done some work with him over the years. I wouldn't call myself a model, but I have modeled my jewelry. I have a shaved head, and I can tell you the story about that. My cousin worked in a hair salon. One day I was visiting, and there was a gentleman there; his name was Stephan. He had this beautiful, long, curly blond hair. He looked at me one day and said, “You know, I'm going to shave your head.” I was young, and when you're young and crazy, I said, “O.K.” So, he took a straight razor—I would never do it again with a straight razor—and shaved my head. Then we did a photoshoot where he made bird's nests out of—I couldn't even remember what it was made out of. I think maybe feathers and all these different, crazy things, and he put them on my bald head and we did this photoshoot. But I didn't like it because I was young, and I was wearing a lot of hairpieces. Hair was very important to me and to everyone, so I didn't like it. I don't know if I told him I didn't like it, but I was like, “Oh god, what did I do?” I remember I came home, and my mom was like, “Why did you do that?” Everywhere I went, everyone hated it. This was a time when there were no bald women around. It was before social media. I didn't know that in Africa there are tons of women like that, but you didn't see any bald women around. I remember I would be walking by, and I would hear people whisper, “Maybe she has cancer.” A lot of people didn't like it because it was such a drastic change from what I looked like before. Now all of a sudden, you have no hair. But I kept it for spite. Just because people didn't like it, I thought, “I'm going to keep it.” I think I would shave it every week, like once a week or something. The more I did it, the more I liked it. Now that I'm saying it, I think that played a role with the jewelry because I would have this bald head, so the jewelry became more elaborate. Stephan saw it. My logo is now my head, like a silhouette. The silhouette of my head is my actual logo. I think he saw something I didn't see. Do you know what I mean? A friend of mine designed my logo. He took a picture of my shadow against the wall with the bald head. Then he took a picture of my jewelry and scanned it onto the image of the head. I would never change that. I think it's such a beautiful logo. I love my bald head, and I think it really works with the jewelry. It's so striking, for a lack of a better word. But I always remember after I did it, for years my mother kept saying, “Why don't you grow your hair?” Then one day she looked at me and said, “You know what? I think of all the hair styles you've ever had, that suits you the most.” I do have a nice-shaped head, if I can say so myself, but everybody always compliments me on my—I can't remember what your question was. I went off into a tangent, but I think you asked me. I don't think of myself as exotic, but I think other people might use that word. Sharon: The model on the website is Black. You're Black, right? Colette: Yeah, I can't remember what's on there. I think there are a couple of images of Black models on there. I think there are one or two of me on there with a shaved head, and then there are a couple on Instagram. Sharon: You're Black though, right? Colette: I am a Black woman, yes. Sharon: Do you sell a lot through Instagram? You mentioned it several times. Colette: Do I sell a lot on Instagram? Sharon: Mm-hmm. Colette: No, I never pursued doing sales on Instagram. That's why I was thinking of creating a collection of simple pieces like belts and bags, where I could sell online through social media. I find that the pieces I do, you have to try them on. If you're not able to try it on, I think a lot of things would end up coming back just because you have to be able to see the scale. I've never had a problem with returns. In all the years I've been doing this, I think I've only had one piece returned. It was a charm bracelet. It was a woman in one of the eastern states. She saw it in a magazine. She ordered it, and she sent it back because it was too big for her. She wasn't used to wearing that. It's a lot. You have to try it on. That's why I was thinking of doing some simpler pieces where I could sell in volume if some pieces come back, if one or two are returned. But I think the pieces I create now, a lot of them would end up coming back just because you need to try them on. Sharon: I never thought about that before, that if you don't have hair, you need something else. You need the jewelry. You need something to replace it in a sense, to draw the eye. Colette: I don't think you have to, but I think it works well with the jewelry. It's like a blank canvas. There is no distraction. Your eye goes straight to it. I have necklaces. I have a preference when I create. If it's a line, I always start off with the necklace, and then I create pieces that go with that. It always starts off as an elaborate neckpiece. Then I might simplify it or do some more simple pieces that are very similar: earrings or bracelets, a belt, maybe a beaded belt or a chainmail belt or something. But for me, it always starts with the neck. I used to wear earrings a lot when I was younger, but I haven't worn earrings in years. Now, I mainly wear necklaces. I don't like things on my hands, only because I work with my hands and I don't really like things on my hands. It's mostly neck pieces. I do a lot of belts, beaded and chain belts. A lot of the pieces I create in general are very versatile, where you can wear it on your neck or you can wear it on your waist. There are pieces I have that you can wear as a shawl; you can wear as a necklace; you can wrap it on your waist and wear it as a belt. A lot of the pieces I do are versatile. You can wear them many different ways. I do that purposely. I always try to create pieces that you can wear in multiple ways. Sharon: I'm surprised to hear that. What I have seen are the photos that are online, which are just repetitions of what's on your website. Were you influenced by the baldness? I went through a period where I was bald, but I had people come up and say— Colette: You did? Sharon: Yeah, I did. People came up to me and they would say, “Oh, I wish I had the guts to do that.” Do they come up and say that to you or anything? Colette: Not so much anymore. You see it now everywhere, whereas when I was doing it, when I started, there was hardly anyone. Now, nobody even notices. People just walk by, whereas when I first did it, people would actually stop and stare. Now nobody cares because you see bald women everywhere, especially on social media. There are bald women. You see it quite a bit. For how long did you wear your hair bald? Sharon: Probably for a year, a year-and-a-half maybe. Colette: What made you decide to do that? Sharon: Well, basically I was going through chemotherapy and I lost my hair, but it really made me understand how important hair was to a woman or a man, what you did with it and all that. I hadn't thought about it. Colette: Right, I think hair is important to a lot of people. People think, “Well, why would you shave it?” but I've never really cared about what people think about anything. As long as I like something, I don't care. Your thoughts are your thoughts. I don't mean you specifically, but whatever. Your thoughts are your thoughts and what you think about me is—why should I worry about what someone thinks about me? I've never really cared about what people say or think about how I look or about my appearance. Sharon: It's interesting. I think most people think, “What will somebody else think if I do A, B, C or if I wear—?” Colette: Yeah, I think so too. I think as I got older, when I stopped caring about what other people thought, it was probably at the age of 16. I remember if I went shopping with friends, if you're trying something on and they say they don't like it, I was like, “Well, I'm going to get it just because you don't like it.” If I like something, it doesn't matter to me who likes it or who doesn't like it. Sharon: I suppose you have to be that way with your jewelry. Your jewelry is gorgeous, but— Colette: It's not for everyone. Sharon: Exactly. Colette: It's not for everyone. There are a lot of people who think that's gaudy. Maybe it is gaudy, but I like it. I don't really care what people think. Sharon: It is an acquired taste. I flipped over it because I happen to like big, bold things, but there are some people who like delicate things. Colette: Who like delicate things, exactly. A lot of times, people will come to me and say, “Why do you do stuff like this?” People are always giving you advice, “Why don't you do this?” and “Why don't you look at this person and do what they're doing?” Why would I do that? That's her and I'm me. I have to be me. Why would I look at someone and imitate what they're doing? For me, I always have to be true to myself. I have to create what is in me. I think that's what makes us all unique; we're all different. I find a lot of times, everybody's trying to create or do what everyone else is doing. The last time I was out in the shops, it was maybe a couple of years ago. We have a mall here called Yorkdale. I was at Yorkdale Mall. I don't know if you're familiar with that. It's a high-end department store here in Canada. I'm looking, and there was—I can't remember the names, but I'll just say there was a Gucci chain bracelet. Then I would go somewhere else, and it was Yves Saint Laurent, but it was the exact same bracelet. It was just a different label. I'm not joking. It was the exact same. I don't understand that. I find everybody, even with jewelry, it's all the same. I don't know if it still is because I haven't really looked at anything, but it's all the same. I've heard people say that to me too, that when they're out, everything looks the same, like no one is different. I guess something sells, so everybody does it. There's some jewelry, I think it's Tiffany that does it. I don't know what it's called, but it's links and it has balls on the end. It's a chain link at Tiffany. I think Tiffany did it originally, but I see that everywhere, even high-end designers with the same link they just copied from Tiffany. I think, “Why not just create your own?” Anyway, I guess if something sells, everybody does it. Sharon: We're going full circle to why you're an artist and not a designer, why you call yourself an artist. I really appreciate your being with us today. I hope we can do this again. Thank you very much, Colette. Colette: Thank you so much for having me, Sharon. It was a pleasure. Thank you. Sharon: It was great. We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

What you'll learn in this episode: What the difference between an artist and a designer is The barriers that can make it difficult for solo jewelry artists to enter the retail market, and how Colette overcame them What Colette has discovered about her creative process by working with George Brown College psychology students on a research project Why it's important for artists to avoid looking at trends in stores and on social media too frequently How a spontaneous haircut sparked Colette's creativity and paved the way for her future business About Colette Harmon Colette Harmon's one-of-a-kind accessories are a dazzling blend of crystal, mixed metals and semi-precious stones. With an appreciation for meticulous craftsmanship, the metal meshing and intricate beadwork in each of her statement pieces are an audacious departure from mainstream minimalism. Born in Sisters Village, Guyana, Colette studied fashion design in Toronto before apprenticing as a belt and handbag designer for a leather goods manufacturer. Harmon soon founded her own eponymous label, whose name became synonymous with maximalist glamour. Harmon's modern approach to vintage flair has earned her a devoted following of customers, fans and fashion stylists from across North America. Her pieces have been sold in Saks Fifth Avenue and Holt Renfrew Canada, and her work has been featured in Elle Canada, Flare, Martha Stewart Weddings and Nylon. She currently focusses on one-of-a-kind couture creations for select clientele.    Additional Resources: Website Twitter Photos Available on TheJewelryJourney.com Transcript: Colette Harmon has seen many trends come and go over the course of her career, but she has never let that influence her work. She has always found an audience for her one-of-a-kind jewelry, even when her hallmark maximalism is supposedly “out.” She joined the Jewelry Journey Podcast to talk about why she defines herself as an artist; how she nurtures her creative vision; and how her job as a leather accessories designer led to jewelry (and how that experience may come full circle in the near future). Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week.   Today, my guest is Colette Harmon, who is speaking to us from Canada. Toronto to be more specific. I have to say I've never met her, and I've never seen her jewelry in person, but it's my kind of jewelry. It's over-the-top kind of jewelry. You may have seen it on a celebrity on the stage or screen, but if you've seen it, you'd remember it. I couldn't find a lot of information about Colette, so I'm going to let her tell you her story. Colette, welcome to the program.   Colette: Thank you so much, Sharon. It's a pleasure to be here.   Sharon: I'm so glad to have you. It took us a while to connect, to actually make this happen. Are you a designer? How do you refer to yourself? A Canadian designer?   Colette: That's a good question. I don't think of myself as Canadian, but I am a Canadian designer. I think of myself more as an artist as opposed to a designer. To me, a designer is someone who—can I start again?   Sharon: Yes.   Colette: Let me start again. To me, a designer is someone who creates things that can be worn by the masses, who is able to distill things and make them very simple so that everyone can wear them. Like you said, I'm more over the top. I don't think about the masses. I create for myself. I create things that I, myself, would wear. I don't really think about it, and I don't really want the masses to wear my pieces. I want them to be unique. Maybe not one-of-a-kind, but limited editions. I don't want to see my pieces everywhere on everybody. When you're creating things that will be liked and appreciated by many, many people, it becomes distilled and watered down. To me, it loses its soul and its energy. Others might not think that, but that's how I think of myself.   Sharon: I just wanted to ask you, you're from Guyana. Am I saying that right? Guyana?   Colette: From Guyana, yes. I was born in a little place called Sisters Village, Guyana.   Sharon: When did you come over here? Were you young or a child?   Colette: I came at the age of five. I came with my parents, my mom and my dad. I have two brothers.   Sharon: So, you came with your family.   Colette: Yes.   Sharon: And when did you start designing jewelry or other things?   Colette: At a young age. I think I got my creativity from my mother. My mother was very creative. She was very musical. She sewed. She sang. She played piano. She was very creative. I think that's where my creativity comes from. As a child, I was always drawing. I was very much in my head and my own little world as a child. I was always drawing and creating different things. I studied clothing design and thought I would be a fashion designer, a clothing designer.   How I ended up in jewelry was, when I graduated from school, there was a job advertised. I went to a school called Seneca College in Toronto. When I graduated, there was a job in the paper for an accessory designer; it was a belt designer. I had taken a course in college—I think it was just one semester—an accessory-making course. So, when I graduated, I saw the ad and thought, “I can make those.” So, I applied and got the job. I did that for about a year, year-and-a-half.   Then I left that job and started creating my own belts and handbags. One day I was doing a market show, and somebody asked me if I could make a pair of earrings to go with a belt they had purchased. I didn't know anything about jewelry, so I just cut little squares and circles and covered them with leather. Looking back, they were horrible, but at the time I thought they were great. That's how I got into jewelry. I never had any intentions of being a jewelry designer; I never thought of being a jewelry designer. That's how I started. It just sort of happened. I have no idea. It wasn't something I thought about, but I ended up becoming a jewelry designer.   Sharon: Do you have a lot of stylists as clients? They're women, I presume. Are they stylists?   Colette: When I started doing jewelry, I started out wholesaling. I had an agent that would carry my pieces, and I sold to people like Holt Renfrew. I sold to Saks a little bit. I don't know if you're familiar with it, but there was a chain store here in Canada called Lipton's. I sold to Lipton's. I sold to better ladies' boutiques. I got into doing custom pieces because it was very difficult wholesaling as a one-woman show. It was always very challenging getting paid on time, getting paid at all. When you're small, I don't know if it's true for everyone, but with me, people like Saks, they would sometimes take six months to pay me if I got an order. It became very difficult waiting for money. So, I was doing wholesaling and custom work for a bit, and I segued into doing all custom.   Sharon: Did you leave manufacturing belts to have your own business?   Colette: I slowly moved away from the belts and got into jewelry. I can't remember exactly how or when it happened, but one day, I ended up being a jewelry designer. I never thought about it. I didn't plan it. Belts go in and out of style, so I guess there was a period where they weren't selling as much. Belts weren't in style, so I moved more towards jewelry. I guess I decided that I liked creating jewelry better than I did belts, and I just ended up in that field.   Sharon: I want to make sure that everybody knows that the jewelry you make is made with real stones and—I call them costume things—things that aren't real, feathers and all kinds of things. Do you have an inventory?   Colette: Yes, I have quite a bit of stuff. I love to mix different things. I don't follow any rules. I mix semiprecious with crystal and metal. Sometimes there's sterling silver, and occasionally I'll use a little bit of gold. A lot of it is plated. A lot of the metals are plated in either gold or silver. My strength is mixing, the way I combine different elements. I think that's what my strength is. Some people only do semiprecious or only precious, but I like to mix and combine high and low things. I work with whatever I like. If I like something, I'll use it. It has to speak to me. It may sound silly, but I think everything has an energy and they speak to you. They don't speak to you in words or in language, but they have an energy and a feeling. I use what I like, what speaks to me.   Sharon: Do you create these pieces before there's a need, before somebody comes to you and says, “I need a piece,” or do you create them when they say they need a piece?   Colette: I do a bit of both. Someone could come to me and say they're going to an event. They might have a dress they need something to go with. A lot of times they just say they want a necklace and the colors and materials they would like to use, and they let me be free and do whatever. I prefer to work that way. I prefer to have creative freedom. A lot of times, someone will come and have something in mind, and I say, “That won't work,” and they won't listen. So, I do what they like, and you finish it and they say, “O.K., you were right.” I find a lot of people can't visualize; they can't see it. It usually turns out O.K. when I have creative freedom. I can't create something that I don't like. I have to like what I'm doing.   Sharon: What do you say if somebody says to you, “I want it this way,” and you think that's not going to look good? What do you say or how do you deal with that?   Colette: I usually tell them. I'm usually very honest. Then I'll do what they would like me to do. It usually turns out that it doesn't look good, but that doesn't happen very often. It usually works out pretty well. The people that come to me know what I do, so they know what to expect.   Sharon: Can you tell us a little about the people that come to you? Are they women? Are they stylists?   Colette: Mostly women. I do work with stylists. If someone's doing a shoot, they might want me to create something, or they might pull from something I have. I don't keep a lot of inventory. It's mostly women that are going to an event or party. The past couple of years, there haven't been very many parties, but they come to me if they're going to a ball or a fundraiser or just for their everyday lives. They just want me to create something unique. People come to me because they want something different. I don't pay attention to trends or what everyone is doing, so when they come to me, they know they're getting something different.   Sharon: How do they hear about you?   Colette: Mostly through word of mouth. I've scaled back the marketing. It's mostly through word of mouth.   Sharon: Do they see someone else and say, “Where did you get that?” and then they find you? How do they find you?   Colette: That happens. They might see someone else wearing one of my pieces. They might see something in a magazine. When I do editorials, people will call me. I'm in Toronto. I've had people call me from Vancouver after seeing something they like that they would like me to create for them. As I said, most of the pieces are either one or a limited edition. There might be pieces I've done when I can't recreate them exactly, but they might be in different colors. Maybe that color is for a particular client or whatever material is not available, so it's similar, but not exactly the same.   Sharon: What surprised you most about having all these requests?   Colette: I guess the most surprising thing is that there are actually people that love what I do. I don't know if surprising is the right word. I guess it's pleasing to know there are actually people that love it. I was known for these charm necklaces I've been doing for years. I had a woman that has maybe 30 of them.   Sharon: That's a lot.   Colette: I guess it's surprising and pleasing knowing that there are people that really love and appreciate my work.   Sharon: Do you have other collectors besides this woman with 30 pieces?   Colette: I would say I have maybe five people who—I know you're familiar with Carole Tanenbaum. She has quite a few of my pieces. Should I say their names?   Sharon: It's up to you.   Colette: There's a woman named Nella Rosmand who has quite a few of my pieces. I have a client that lives in Yellowknife. Her name is Lisa Tousar. She used to have a store in Yellowknife. I think she's closed it, but she's bought a number of pieces. I had a boutique for a while. She bought a lot of pieces. She loves my work. There are maybe five or six people that have quite a few pieces.   Sharon: Do they wear them more than once?   Colette: I guess so. I guess they wear them. A lot of what you see on Instagram, what you mostly see, a lot of those are—I put the really over-the-top, elaborate pieces there. But I do simple pieces as well. They're not always as elaborate as that. I also do some more subdued pieces.   Sharon: Your Guyanian and Canadian background, what influence does that have?   Colette: It's actually Guyanese. Guyanian means people probably think I'm from Ghana. Guyanese is the term. I came when I was five and I've been back twice. I don't know if being Guyanese has—maybe it's something that's subconscious, but it's not something I think about because I grew up here. I grew up within a multicultural city, so there are influences from many places, I think. I don't know if Guyana specifically has an influence on my work, unless it's subconscious. I've had people say that my pieces look very African. I've had women from Africa say that it reminds them of it. But I don't think it's something I think about or do intentionally; I just do.   I'm doing a project right now with George Brown College here in Toronto. One of the professors, Leah Barrett, approached me about studying my creative process. I chuckled to myself because I don't really have a creative process. I could sit down and sketch something, but once I start to make it, it turns into something completely different because I get ideas as I go. As I said, the materials speak to you. I create as I go along. If I have something in my mind from the start, when I finish it, it's something completely different. I don't really have a creative process. It sounds silly, but I just play. That's what I do. I play.   I have to be honest. There are pieces I've created over the years that I don't like, but a lot of times, those are the pieces that sell first. It's like, “Oh my gosh, I don't think anyone will ever buy that.” That's the piece that goes first. I've sold a lot of pieces off of my neck. That's happened quite a bit over the years. I remember once being at a party at a hotel in Toronto. I was in the washroom, and a woman said, “I love your necklace,” and I said, “Thank you,” and she was like, “I want that necklace.” I didn't want to sell it, but she insisted. She wrote me a check in the washroom and I sold it to her. I actually regret it because it was one of those pieces I could never make again, but I find that people always want what I'm wearing. I've regretted selling a couple of pieces over the years because I could never make them exactly the same again.   Sharon: That's interesting. You're your own best model in a sense.   Colette: Well, I make them for me, to be honest. If I wouldn't wear it, I couldn't make it. I think that's one of the reasons why I started creating my own leather accessories. I felt very restricted when I was working for—it was a company called Princeton Leathers. I always felt like I was in a box, and I just found it very difficult creating. There were two lines, one that was a luxurious line and one that was more simple. They would give me two findings and say, “O.K., now come up with something.” I was doing a dozen of these, and I found it very restrictive. If I won't wear it, I can't make it.   Sharon: Where do you get your ideas, if it's not from somebody who shows you something and says, “I want something done this way”? Where do you get ideas from?   Colette: I don't actively look for ideas. It's just things you see and it's collected in your subconscious. A lot of times, when I go and buy materials, I buy what I love, just pieces that I like. Sometimes they might be sitting on my desk for weeks and I have no idea what I'm going to do with them. Then one day, you might walk by and an idea just pops up in your head. I don't actively look.   That's one of the things I don't like about social media. You're seeing all of these things. I try not to look at other people's jewelry, but you see it and it does influence your work when you're looking at so many different things. I try not to look at it too much because I always want to be true to myself when I create. I don't like looking at other people's work too much because I find that it does influence you, whether you know it or not.   Sharon: Where do you look? Do you walk in the stores? Do you go downtown?   Colette: You know what? I was actually speaking to a friend the other day—he has a manufacturing company in India—saying that we should go out and see, because I have no idea what's in the stores. I don't pay attention to what's in or what's not in. Even at George Brown, in speaking with the students I'm working with, they were telling me that minimalism is back in style. I have no clue. I really don't. I don't know what's in or what's not. I don't pay attention to any of that. I never really liked rules. If you love something, then wear it. Who cares if it's in or if somebody else likes it? It doesn't matter. You're the one that's wearing it. It's how you feel in it. What other people think has no bearing. I've never understood that. This is in style or that isn't in—if you like something, if you love it, then wear it. Who cares? I've never paid attention to rules.   Sharon: What was the context of them saying that minimalism is back in style?   Colette: I can't remember what we were speaking about, but they were saying that maximalism is out and minimalism is in. You know how fashion goes in waves. I think that's like when I was doing the belts. I guess we were going into a period where belts weren't in style anymore, so people weren't really buying. Eventually I started doing more and more jewelry pieces. That's the thing; if you like belts, then wear belts. I guess with the wave of fashion and the way the system works, then the buyers aren't buying. But I never really paid attention to what's in.   Sharon: You closed your store. Now do you work out of your home or your studio?   Colette: I have a home studio, yes. I work out of my home.   Sharon: Do you have to go out and sell?   Colette: No, but I'm planning on opening up a showroom where people can actually buy things. I'm thinking about coming full circle and doing a line of leather belts and accessories and a little bit of jewelry as well, but I'm thinking about creating some leather pieces.   Sharon: Is that for stylists or is that for anybody who wants to come and look?   Colette: For anybody who wants to come in.   Sharon: Do they give you an idea of what they're looking for most of the time? Sometimes they do and sometimes they don't, as you said. But do most people coming in say, “I want something big,” or “I want something more muted”? What do they say?   Colette: You mean if someone came in and they wanted me to create something for them?   Sharon: Yes.   Colette: Sometimes they might come with a picture from a magazine or something and say, “I really like this,” in terms of style or size or whatever. So, I would create something with that feeling or those colors. Sometimes they bring a swatch of fabric to match, or sometimes they have an actual garment they want me to create something to go with. They might see something on my Instagram or on another person, something they saw someone else wear. It works in many ways. But if I were to create belts and bags again, I would do a line of pieces and people would just buy from what's already created.   Sharon: Because it's easier?   Colette: Yeah, because it's easier. It would be easier. With the belts and bags, they would just buy from a line that's already created.   Sharon: I can see how that would be easier than picking out jewelry or creating something to go with a garment.   We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.  

Après sa sortie de prison, George Brown continue ses engagements. Il se marie à Annie, française. Tous les deux ne cesseront de lutter pour la cause noire-américaine.Une série de Jessica Gordon Braye, coproduite par Sybel et Binge Audio en 2019.Programme B est un podcast de Binge Audio présenté par Thomas Rozec. Réalisation : Quentin Bresson. Production et édition : Juliette Livartowski, Olivia Lapierre et Candice Mullet. Générique : François Clos et Thibault Lefranc. Identité sonore Binge Audio : Jean-Benoît Dunckel (musique) et Bonnie El Bokeili (voix). Identité graphique : Sébastien Brothier et Thomas Steffen (Upian). Direction des programmes : Joël Ronez. Direction de la rédaction : David Carzon. Direction générale : Gabrielle Boeri-Charles. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Épilogue : Sur les traces du fils George Brown a laissé derrière lui, aux États-Unis, un fils qu'il n'a jamais pu connaître. Un fils qui, ironie de l'histoire, est aujourd'hui en prison et n'a aucun souvenir de son père. Une série de Jessica Gordon Braye, coproduite par Sybel et Binge Audio en 2019.Programme B est un podcast de Binge Audio présenté par Thomas Rozec. Réalisation : Quentin Bresson. Production et édition : Juliette Livartowski, Olivia Lapierre et Candice Mullet. Générique : François Clos et Thibault Lefranc. Identité sonore Binge Audio : Jean-Benoît Dunckel (musique) et Bonnie El Bokeili (voix). Identité graphique : Sébastien Brothier et Thomas Steffen (Upian). Direction des programmes : Joël Ronez. Direction de la rédaction : David Carzon. Direction générale : Gabrielle Boeri-Charles. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Episode Summary In this episode, Anne Koven interviews Carol Phillips, who has extensive experience in designing with various construction materials, with a particular focus on mass timber. They explore the potential environmental impacts of increased mass timber adoption, including the effects on forests. Carol also shares insights from her work on the George Brown's Limberlost Place project, discussing its inspiration and the multifaceted role an architect plays in managing innovative projects like Limberlost Place. Additionally, they delve into the evolving landscape of the architectural profession, driven by shifting paradigms and emerging technologies. The conversation highlights the significance of sustainability in mass timber construction and the profound human connection to wood, along with the environmental benefits it offers. Last but certainly not least; the involvement of Indigenous communities in construction and resource utilization and management is also discussed. In This Episode Carol is a Partner with the renowned architecture firm Moriyama Teshima Architects (MTA) known for remarkable, innovative Canadian and international projects. Carol is Design Leader for MTA's most ambitious low carbon projects. A Fellow of the Royal Architectural Institute of Canada, Carol's inspired designs have received international awards and are distinguished by the spare but assertive use of materials that bring identity and grace to communities. Her practice is increasingly focused on low carbon and timber in the search for ways the construction industry can contribute better solutions to the climate crisis. Along with her built work, Carol provides service to the architectural community through teaching at the University of Toronto, lecturing internationally, acting as a juror for design awards, and sitting on various design review panels. Connect with Carol Phillips: LinkedIn Carol at Moriyama Teshima Resources Mentioned in this Episode: FPAC Documentary: Capturing carbon: https://www.fpac.ca/posts/canadian-forestry-documentary-capturing-carbon-to-be-featured-at-united-nations-cop27-conference Constructing Health by Tye Farrow: https://www.fpac.ca/posts/canadian-forestry-documentary-capturing-carbon-to-be-featured-at-united-nations-cop27-conference - Coming Soon Canadian Wood Council Primers: https://cwc.ca/ Eli Gould: https://www.linkedin.com/in/eli-gould-4b956935 from Offsite Wood (https://offsitewood.org/) Moriyama Teshima Architects: https://mtarch.com/ Land Acknowledgement We wish to acknowledge this land on which the University of Toronto operates. For thousands of years it has been the traditional land of the Huron-Wendat, the Seneca, and the Mississaugas of the Credit. Today, this meeting place is still the home to many Indigenous people from across Turtle Island and we are grateful to have the opportunity to work on this land.

Prologue : 31 juillet 1972Un soir, en vidant l'appartement de sa mère, Jessica Gordon Braye tombe sur cet article : « 31 juillet 1972, un DC8 qui fait la liaison Detroit-Miami est détourné, destination Alger ». Qui sont les auteurs de ce détournement ? Cinq Black Panthers. Et parmi eux : George Brown, son parrain.Une série de Jessica Gordon Braye, coproduite par Sybel et Binge Audio en 2019.Programme B est un podcast de Binge Audio présenté par Thomas Rozec. Réalisation : Quentin Bresson. Production et édition : Juliette Livartowski, Olivia Lapierre et Candice Mullet. Générique : François Clos et Thibault Lefranc. Identité sonore Binge Audio : Jean-Benoît Dunckel (musique) et Bonnie El Bokeili (voix). Identité graphique : Sébastien Brothier et Thomas Steffen (Upian). Direction des programmes : Joël Ronez. Direction de la rédaction : David Carzon. Direction générale : Gabrielle Boeri-Charles. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

In Part 2, Funky George Brown of Kool & The Gang explains the group's transition and super success at the turn of the 1980s. He discusses the songwriting process, personnel changes, and the challenges of touring with Van Halen.See omnystudio.com/listener for privacy information.

Funky George Brown of Kool & The Gang tells Questlove Supreme about an upbringing in Jersey City that made him fearless and creative at the same time. George recalls the band's early years, and describes what made this group so versatile, gifted, and cutting-edge.See omnystudio.com/listener for privacy information.

Dave Contarino was Bill Richardson's 2002 gubernatorial campaign manager, his first term Chief of Staff, and manager of his 2008 presidential campaign. Very few are better equipped to remember the life and legacy of Governor Richardson than Dave. In this conversation we talk Dave's own path to politics and mine his expertise specifically about New Mexico, then go in depth about the inspiration, impact, and influence of Bill Richardson...from his unconventional lifestory, to his time as a rising star in the House, stint in the Clinton cabinet, two terms as Governor, groundbreaking presidential campaign, and his focus over the past decade helping to free Americans held hostage in foreign countries (including the recent release of Britt ney Griner). This is a wide-ranging conversation about a truly original and transformational figure, the late Governor Bill Richardson. IN THIS EPISODE…Dave's roots near Boston and path to politics via a couple of interesting internships…One of Dave's early jobs as a DCCC staffer under then-operative Rahm Emanuel…How Dave's career took him to New Mexico and his 101 for understanding New Mexico Politics…Dave talks the early life and political origin story of Bill Richardson…The role Richardson's Hispanic heritage played in his political career…Congressman Richardson's ascent in the House and how he started to become known as an international hostage negotiator in the 1990s…Why the ambitious Richardson waited 20 years after he was first elected before he ran statewide…Dave remembers some of the high points of Bill Richardson's tenure as Governor…Dave talks Richardson's decision to run for President in 2008 and memories of what went right & what went wrong…Some of the story behind Richardson's surprise decision to endorse Barack Obama over Hillary Clinton in 2008…Dave goes in depth on the work Governor Richardson has done over the past 30 years to help free American hostages from foreign countries…Dave closes by speaking to Governor Richardson's political legacy… AND ANWR, Madeline Albright, Andover, Bruce Babbitt, the big seat, Jeff Bingaman, The Boston Globe, Richard Branson, George Brown, the Cape Cod League, Bob Carr, James Carville, the Catholic Church, Henry Cisneros, Cornell University, Warren Christopher, Pete Domenici, Friends of Bill, Geronimo's attorney, grazing fees, Brittney Griner, the Harriman Center, the head of Denver Transit, Saddam Hussein, James Inhofe, Lyndon Johnson, Judas, Sergey Lavrov, David Letterman, Manuel Lujan, Michelle Lujan Grisham, Susanna Martinez, Paul Maslin, Terry McAuliffe, Roberto Mondragon, Steve Murphy, NAFTA, Ollie North, Pasadena, Federico Pena, Mark Penn, Mark Putnam, radio actualities, the Rio Grande Corridor, Ed Romero, Pat Schroeder, the Science and Technology Committee, Hillary Tompkins, Tufts, Tom Udall, The War on the West & more!

In this episode of Cloudlandia, I accompany you on a captivating time-travel adventure to the 1930s era. We explore the nascent media landscape and how the rise of radio and television began to connect the world. We predict how elements like technology, energy, money and labor may redefine our world. We also shed light on 1950s industries like television advertising and iconic artists that profoundly shaped society. Join Dan and me for this enlightening discussion into the past, present, and what may lie ahead.   SHOW HIGHLIGHTS The podcast episode explores the evolution of media, starting from the 1930s when radio and television started to unify the world. The hosts discuss the story of Matt Upchurch, founder of Virtuoso, and how his influential magazine became a guide in the complex world of information. They also explore the potential future of global economics, focusing on elements like money, energy, labor, and technological innovation. The episode delves into how these elements could redefine our landscape, especially in the context of a potential plateau period, and how they could challenge us to find more productive uses of technology. The hosts revisit the 1950s, highlighting the significant impact of industries and events like television advertising and iconic appearances of Elvis Presley and the Beatles on the Ed Sullivan show. They discuss emerging trends in mainland experiences, drawing parallels between cash flow and sense of humor, and delve into the realm of digital publishing. The hosts examine the shifts in travel desires induced by the pandemic and the potential of community colleges in providing a pathway to future employment. The hosts plan to set up a new sound studio and propose the idea of creating a digital collection basket at the end of the podcast. They predict that the future will see a growth in high-quality mainland activities as people's standards for travel and experiences have risen after the COVID-19 pandemic. They highlight that industrial land prices in certain areas are going through the roof, pointing towards a trend of re-industrialization driven by automation and the need to bring manufacturing closer to customers. Links: WelcomeToCloudlandia.com StrategicCoach.com DeanJackson.com ListingAgentLifestyle.com TRANSCRIPT (AI transcript provided as supporting material and may contain errors) Dean Jackson Mr. Sullivan. Dan Sullivan Mr Jackson, are you having a good mainland day? Dean Jackson I am. I've been, yeah, you know, I've been having a combination of, so far today, been on the mainland and in Deanlandia and there's. That's a good combination. Now yeah, here we are in Cloudlandia. Dan Sullivan Yes, yeah, well, it's a beautiful day We've had. Actually, by my memory, we've had a fantastic summer in Toronto, July and August. It's really great. You know Well, when it rains, it usually rains at night, and so the grass is all green. I've never seen the trees so green, so it's been great. I've been reading about forest fires you know I've been reading about hurricanes, typhoons, volcanoes, not in Toronto. Dean Jackson But we're going to have a, apparently because of the ocean temperatures, we're in for a potentially turbulent hurricane season, which is just getting going here now. So everybody kind of you know straps in between now and end of October to see what happens, right Well as we've been in the news. They'll let us know what you know when they put up the big red buzzsaw making its way towards Florida to get everybody all suitably panicked. Dan Sullivan Yeah, well, it's very interesting. The 1930s are still the hottest decade since the US has had temperature readings yeah, yeah, and the big thing is that we have so much news now. Everybody's a newscaster now with their cell phone. So what's gotten exponentially greater is actually people's first reaction to the weather, you know. Dean Jackson Yeah. Dan Sullivan And climate I've never experienced. You know, I'm 79 and to this day I've never experienced climate. I've only experienced weather. That's right. Is it my feeling? You know I don't have a climate chip in my brain. You know a climate. Actually. You do know how it's the average of a year's temperature in a particular spot. Dean Jackson Yeah, what's the? Dan Sullivan climate Right, exactly, and the spot where you're sitting is different from the year than 100 yards away from where you're sitting. Dean Jackson That's interesting. Yeah, the whole. It's all different, right, everything that whole. Yeah, I look at those as one of those things. We're certainly in you know an age, like you said, with the news there that everybody you know. I mean when you look at from you know I think about the big change again when we went from you know no new. You know the local town prior kind of the voice of what's going on. Dan Sullivan So when we got to, a unified voice of. Dean Jackson You know the, when the radio and the television became the unifying, that's really what it was. It was a unifying thing for the first 30 years of it and then when the affiliate you know the network kind of thing allowed local voices to be, you know, you got the in the beginning. It was when you were born all it was the national radio and national television right. The television wasn't even a thing when you were born in 1944. Dan Sullivan In the 40s, no 40s, so when you were a young boy, you got your first face to Howdy duty. Dean Jackson I mean, that was, that was something, I guess huh. Everybody got introduced to Howdy duty. Dan Sullivan Yeah, I was, and there there was. I can figure it was like 1953, maybe 1953 that I became aware of television, because some neighbors had it and and you know, and it was the three you know ABC, cbs, nbc but then where we lived in. Ohio. Dean Jackson we got Canadian Broadcasting Corporation from there and so I was aware that there was this country across the lake, yeah, and so yeah, it's very interesting, isn't it, that then, you know, by the time we got to 1980, we ended up we had 13 channels. That was a big, that was a big jump in the next 30 years. But all of those 13 channels were both distributing the national content of ABC and BC and CBS, but they were also producing local content. And now we're at a situation where you had, you know, 13 channels with multiple, you know, regional voices, the market affiliate, affiliates, and now we're at a stage where there are, you know, five billion voices all going through the three you know that was funny because, we've come down to, the channels are the same in terms of Facebook, instagram, youtube, twitter. Mr. Beans, yeah right, well, these are part of the YouTube network there, you know, but not now the platforms are there, but everybody but there's, you know, billions of voices on those same things, and that that's where I see that this next 30 years or however long, I don't know how long it'll be because you can't imagine what you can't imagine. But you know, I don't see anything on the horizon that's going to things like. It feels like all the pieces have locked into place for a period, you know, asymptotic plateau of creativity, now that everybody of reach, everybody's got access to it. Dan Sullivan It's really fascinating, and you're absolutely right that I have never had the experience of imagining something that I couldn't imagine Exactly. Dean Jackson That's right, everybody had the first thought to imagine it. You know? Yeah, I was looking. Dan Sullivan I had an interesting project project, a sudden project, this week. Do you know Matt up church? Have you ever? Do you remember Matthew up church? Dean Jackson Matt. Dan Sullivan Matt. Matt, the founder and owner of Virtuoso, and Virtuoso is the biggest network in the world of affluent travel agents. Dean Jackson I'm a member actually. Dan Sullivan Yeah, that's good, okay, yeah, they have this very posh magazine that comes out every quarter, every month. Dean Jackson Yeah, I get it from the Sims. Dan Sullivan Yeah, yeah, and he was. Matt was in the program a couple times. He was in the 90s and then early. I think he came in right around late 90s and was in the 2000s and then I think he was there in the teams and, but in 2003, so 20 years ago right about now I was guest speaker at his annual conference at the Bellagio in Las Vegas and I think about 2000. They're about 2000 travel agents there and there's a lot of travel companies there to like hotels and resorts and cruise lines, you know, and they have sort of a rapid get to know you sort of day, you know, when you meet somebody for 10 minutes and then you meet for another 10 minutes rapid work. Yeah, so I gave a talk and I created a workbook and so it was probably about a 90 minute talk with about an hour of Q&A and then you know, then there was a half hour afterwards where people just mingled and but what I was telling them about was the, because of digitization, that so much of the standard travel agency business was going to be completely commoditized by Expedia and you know, like that type of thing. And so and I give a set of predictions and I also said that there's a bypass to all this if you master DOS the dangers, opportunities and the strengths and you just zero in very deep on your best clients and you identify, when they're traveling, what are the dangers that they experience. In other words, they could lose something, what are the opportunities that they could gain something in the strengths that they have. And as a test example, I did it on Babs and me, showing that how we like to travel and you know experiences that we really don't like having experiences that we love happening. And the strengths that we have to really enjoy and explore particular type of experiences. Okay, and I gave that to them and talked it through, but I gave as an example a hotel resort in Ravello in Italy. So the Malfi Coast, you know you get South and Naples and you get you know, and you get town and Malfi and Ravello there's like four in the island of Capri is just up here. So I'm sure really classically beautiful and luxury type of setting and it was and I'm not, I can't quite remember, but I think it was probably might have been right near the end of the 90s that we had gone there because we were going on a hiking tour with a group of people for about six days on the Amalfi coast and but before we went for about three days and stayed at the resort in Ravello which is called the Pozzo Saso and it's a beautiful. It sits way up high, it's a couple hundred feet off the water there. You know that part of the Mediterranean I don't think that's exactly called the Mediterranean there, but it's part of the Mediterranean and you can see down the coastline easily 50 miles and our staff had told the staff of the resort that it was my birthday. So the second day was my birthday and from morning till night everybody in the hotel said happy birthday, mr Sulton, happy birthday. Dean Jackson You know. Dan Sullivan And then they there were nonstop treats throughout the day breakfast dinner there were treats and they communicated the conference, the Bellagio Conference. Virtuoso, I communicated. That's how I like that type of treatment. Dean Jackson I like. I like that. Dan Sullivan I like that when my treatment is like every day's my birthday and so, anyway, a really neat little reward for my talk was that then, after I got talking, there were a lot of people came up, shook my hand and everything. And this little man came up and he had almost tears in his eyes and he says Mr Sulton, I'm the general manager of the Pozzo Saso. And I don't I can't, I can't express to you what you've done for my trip to Las Vegas. He says everything I could have possibly hoped for here. You know, because there's competitors, the whole room is filled with competitors. They're gonna spend their money on something you know, and so anyway, it was really funny, and that's it. I didn't remember this, really, for I never used that particular approach again. And so we got a call that they're at their same meeting this year and they have 5,000, they have 5,000 now because Virtuo so has really grown and they asked if I could do an update on what I had predicted. And I went through it and I said well, everything you know, I mean, once you grasp the technology. If you're just giving a standard service, technology is going to commoditize you. you know there's I mean that's not such a great prediction backwards. Dean Jackson That's funny you know you're on the right path. Dan Sullivan You can't digitize that experience that you have, and so they asked me if I had any further thoughts of what the next 20 years would look like, and I'm right on the spot, I said well, the world's gonna change. Everything that you've been experiencing for the last 20 years is gonna change much more drastically than it changed over the last 20 years, and the reason is I call it the force. I just nicknamed this. Dean Jackson The force slowdowns Okay and I said this was the force slowdowns. This feels like breaking news right here. Dan Sullivan Well, this is like Cloudlandia. I mean this. I had to give you that background, just to accept it as a Cloudlandia idea. You know, I mean, there's tough standards. There's tough standards to even be able to listen in on Cloudlandia, let alone speak on Cloudlandia. And I said the first thing is the cost of money is gonna go up and we call it in most places. We call that inflation. So right around the world there's just massive inflation, except for those places that have already been so undermined by inflation that they're now in deflation. And there's one big place where that's happening right now, and then the deflation is where you. Deflation is where the value of everything starts going down significantly. It's not just the cost of things. Inflation is really a function that things that you really want are gonna cost you more. And so for about 20 years we said that around 1%, 2%. You know it was the lowest inflation period since probably the last 20 years have been up until COVID was the lowest inflation. So the cost of money and that means borrowing money is gonna cost you a lot. And you know, here in Canada it's around 7%, you know, 7% to get bank loans, and the US is more or less the same. Second thing is the cost of energy is going way up in most of the world. Okay, and I'm gonna make a proviso where I say in most of the world, it's going to. So, just prior to COVID, the cost of transportation, the overall cost of transportation to get anything in the world, anywhere else in the world, was 1% of final product. So you know you get something from 10,000 miles away. The transportation cost of that was 1% of the final cost and I would say well, first of all, there's places where it's gone 100%. Russia is being one of the places Russia shipping anything in the world. It costs them 100% and the reason is they can't get insurance for any freighter. You know freighter that goes into a Russian port Automatically. None of the big global insurance companies will insure it. You just can't get insurance, and that's not just Russian boats, that's anybody's boat If you go into Russian territory and they don't have that many ports. They've got about four points. I mean they're 11 time zones wide and they've got about four meaningful ports. And two of them are right in the war zone. Sevastopol and Odessa are two big ports and so you can't even get. Nobody will take their boats into that area, so they're in, you know. I mean, the cost of transportation is really high when you can't transport. Dean Jackson Right, exactly, you can't get there from here, right yeah? Dan Sullivan And then the third is the cost of energy, because one, the war is a particular situation, but the cost of energy has gone way, way up. We had really cheap energy over the last 20 years, so now it's gonna go up and this isn't a momentary thing, this is going to be, you know. And then the fourth one is the cost of labor. Especially skilled labor, is gonna go way up, and skilled labor covers a lot of things, but it's basically that there would be competition to hire you if you were working someplace. There would be competition from the outside that you would offer somebody more to move from where they are, and anyone who's got skills that would do that. And if you're so 18-year-old in Toronto today, if they take a 10-week industry sponsored training course, they'll get a certification at the end of 10 weeks and a year later they're making $60,000. Within three or four years they're making $100,000, and they'll never make less. And there will be constant bidding because we've gone basically in North America, a lot of parts of the world. We've gone probably 20, 30 years without any real emphasis on skilled labor, skilled labor, Skilled main land labor. Dean Jackson you mean yeah, or everybody's going into the skilled club land labor. Dan Sullivan Yeah, and a lot of them. Dean Jackson There's so much of it and that's being replaced by AI now, yeah, exactly, you're not gonna have a, you're not going to have an AI sneaking your toilet. Dan Sullivan No, there won't be AI, plumbers, ai, carpenters, ai all the skill trades that's every kind of factory work requires skill training. Dean Jackson So anyway, those are the four slowdowns. Dan Sullivan So those are the four slowdowns and the biggest thing is going to slow down as technological experimentation, innovation, that's going to change really fast and you could see at the end of starting in, probably beginning of 22 last year, there was more firings in the high tech industry than probably in any other industry, and the reason for that was they were hiring people for projects they were going to do 10 years from now and they don't have the cap. The money is too expensive to be paying for things that aren't going to get a payback in 10 years or so. So what I'm saying is and you brought this up, it got me thinking the last podcast we had you brought up that we may now be in sort of a plateau period, like you described the 50s to the 80s. Dean Jackson And. Dan Sullivan I think we're right now we're going back into a plateau period. Dean Jackson Where there's a lot of development. Dan Sullivan There's a lot of development and a lot of more productive uses of what we already have. Dean Jackson Yes, and that's what I think it is now. It's going to be the application through those pipes, just like the iPhone in 2007,. That laid the groundwork for the app culture that brought us Uber and Instagram and Facebook and YouTube all the big things that we use on that vehicle of the phone. And now it's really. This is what I'm fascinated by is who were the big winners and how was the big adaptation to the tool set that was available in 1950. If you think about that, as by 1950, we had television, radio, we had the plane travel, electricity, automobiles, all of those big things that were highlighted in the big change from 1900 to 1950. Were the big winners and continue to be the big winners of that period Of an. Is it adapt, being adaptive on that? Because it wasn't a big period of invention, it was a capitalization of. You look at the packaged goods, the consumer goods really boomed in the 50s and 60s through television advertising. You look at Procter Gamble and big packaged goods companies that knew if we just package up a product, put it in front of the audience. We know everybody. We know 50 million, 53 million people or 60 million people were watching. I love Lucy in the fifth. Those reach audiences. I think Gunsmoke was like a high watermark of the large audience. Then it started going down from there. I saw a chart where that was the peak 61 million I think was the largest television audience in 1960, something whatever Gunsmoke was at its peak. Dan Sullivan Then there were single events like Elvis Presley, the Beatles being on the Ed Sullivan show. You had single events. There were things like that as a series. I bet your numbers are dead on. Dean Jackson While the number one shows on television what did grow during that period. Dan Sullivan I love that period. Dean Jackson That's why I'm asking you and my observation. Dan Sullivan First of all, if you were in putting in superhighways, that was a really big deal. The Turnpike, the cross-country interstate highway system, had just crossed Ohio, probably around 1956 or 57, on its way to the west coast. The other states were building but they weren't connected. They weren't connected yet. Dean Jackson The. Dan Sullivan Ohio Turnpike was just a continuation of the New Jersey and Pennsylvania Turnpikes. These were toll roads. That was it. The other thing was an enormous movement of industry out of the big cities, the big northern cities. I grew up in northern Ohio. Ohio was the most powerful industrial state in the United States, starting probably in the 1880s. 1890s it was just a powerhouse. Pittsburgh was famous for steel, but Ohio City's young down to Cleveland. Cleveland had as much steel as Pittsburgh did, but it was spread out over three countries. It was all geared to Detroit. All of a sudden the automobile industry really consolidated down to just the three companies. Dean Jackson That was just Ford and Chrysler that created the suburbs that created the suburbs. Dan Sullivan The other thing was retail changed because every time you put one of these interstate highways in, you bypass small towns. So small town retail started to die in the 50s because shopping centers and shopping malls may be between two small towns or three small towns but everybody went shopping in their small town, except for daily convenience. But they would go to the shopping mall. The shopping mall went through the industry the other thing that's a whole industry but it was air conditioning. Air conditioning allowed people to move industry and commerce and everything to the south. You wouldn't want to be in Orlando in the 1950s. You weren't too warm to do productive work. Dean Jackson Right, I'm recognizing now the pattern of so. We went from the general store to the main street in small towns, to strip plazas in the 50s, to shopping malls in the 70s, 80s, 90s to Amazon. Now. Amazon is basically or online, where we get everything, every physical good that you could imagine. Online is really the thing. But that's an interesting evolution. Right From main street to when we had automobiles and went suburban, it was the strip mall and then where you could drive your car up into the parking lot and go to the plaza where there was all of the collection anchored around a grocery store, perhaps in a dry cleaner, and putting everything in one place and then that led to the franchise, as a great thing, because the homogen that you created a homogenous vibe in the country by unifying everybody around the television. Everybody was seeing what leave it to be and that whole, all of those shows. Dan Sullivan And the other thing is that the cars became more comfortable because people could go on long trips now, so I remember when you got air conditioning in the cars and so the other thing about it was the recorded music industry went through the roof in the 50s, 60s, you got 45s, came in 33 and a third came in and 45 came in and the late 40s and 40s. Dean Jackson And so the recorded part of what drove the recorded music industry was that they had a discovery device of the radio that you could play music over the radio and that would draw and they would be on bandstand and be on the Ed Sullivan show and be on the thing. So everybody would gain an awareness and, you know, you could create that sensation which drove people to the local record store to buy the records. And that's where that really took off. You know, now we're in a situation where the you know it's certainly, I think, more of a meritocracy now in a way that anybody, it certainly. You look at Peter Diamandis's six D's were certainly up into the democratizing phase of that. Anybody could. I mean you and I could make a hit song if we wanted to and put it out, and we've got as much. Dan Sullivan I think we could have a hit song made. Dean Jackson Yes we don't want to apply it ourselves. Our leadership and finance. Dan Sullivan I think it would upset our daily lifestyle if we were yeah, we can who, not how. Dean Jackson We can who, not how. Dan Sullivan Yeah, it's long right but I had a really great example of that on Friday morning so I had a podcast to Belfast, ireland, great guy, and he's got a coaching program called, which is simple, scaling you know how, helping entrepreneurs to scale their businesses and it was great he went. We went twice the a lot of time because neither of us had a hard stop and but you know he's got a hundred thousand that download the world he's in a hundred countries, you know wow and you, and you and. But you and I have looked at this, you know, from a cost standpoint. I mean, once you bought your computer and you've got an internet line, the rest of it's pretty. I mean there isn't a lot of cost to this. But here we guy, he's got a hundred country worldwide radio station, then he's got a audience of a hundred thousand. You know yeah, and and that my past. And I mean, if you compare that back to what that would have taken, well, let's go 25 years ago. I mean, yeah, achieve that 25 years ago. Dean Jackson It would have cost you so much more, you know when you look at her Carlson, that's a good example right now. Yeah, what's happening? Dan Sullivan I mean it's taking him about two or two or three months to sort of get used to it. And now his show is more powerful than when he was on Fox, because he got three million. Dean Jackson Three million to 13 million average viewer. Dan Sullivan Yeah yeah, and that's. He's done that in three months. You know, yeah, I mean yeah, but now you know the thing is you and I could do exactly like. Dean Jackson This is where the thing is. The difference is the is reach. You know it's not the capability I mean, it's certainly you and I and anybody listening right now has the capability to create a vehicle, to create the podcast, to create a show, to create let's just call it content, to create content that you know could have that kind of impact, but it's just breaches the ultimate scale of this, you know, and it's not, yeah, but that requires the interesting thing is, the more reach that you have, the more you acquire new capability to go along with it, you know and the more your vision gets bigger as your reach gets bigger. Dan Sullivan It was like we have the same landlord are building in Toronto. We don't own the building because they don't sell their buildings and it's a perfect building for us, but yeah, labor Day. So we're a month. Within a month, we will have been there 32 years in that building yeah, you're the you're the only tenant from about the middle of 2020 to the middle of 2022. We were the only yeah, and the check for them was there every month, anything like that. But about 15 years in we haven't. I haven't talked to the landlord. Probably since 2000 I've talked to both of them socially. I've met them, you know, in social events, but I haven't talked to anyone, let's say around 2011. So last or 2001 I've probably talked to them in year 10 of our stay in their building and I was unusually from his perspective, I was unusually funding that day and he says I don't remember, I don't remember, I don't remember you being that funny when you moved in and I said I find my sense of humor is strictly a function of cash flow, right? yes, there's a correlation there or the bigger the cash flow, the bigger the cash flow, that bigger my sense of humor. Yeah so, so anyway, but it's very really interesting how I you know this is and he really we've had and the reason he did it is because of the book, the ten times since he's here at them, two times okay, and first of all, the way I did the book, you know, with Ben Hardy, that probably was not possible 20 years ago, 30 years ago right the way. I did the book. Yeah, because half the most profitable part of the book is not the book itself, it's actually the audible version of the book. I mean once you made your first audible recording. From the standpoint of the publisher, there's not really any cost, is there? You know right, that's exactly right and yet it works out one to one for every, you know, paper book that sold. There's another sale that's a virtual. It's either Kindle, you know, it's either ebook or it's yeah, it's audible, and so that wasn't possible 20, 30 years ago. So I think, we're pointing out a direction here is that I think there's gonna be two extraordinarily valuable world. I think high-quality mainland activities are getting going, grow and grow and do you? Mean by that, hi what? When you well, I think people had two years basically not going anywhere during COVID yeah and I think there are standards of good what they want to do. If they go so much, somewhere has gone up, I'm going to take the effort to travel. I mean we never gave any thought to travel before COVID. I mean you were all around the world. You were in Australia. Dean Jackson Every year, all the time. Dan Sullivan Yeah, yeah, and you were in Toronto. You were in other places in the United States and I think that it has to be something new, better and different for you to really get on a plane and travel somewhere. And it's the same with me and I've gotten about five. Speech. Offers big audiences 500 to 2,000. And I say I'll do it by Zoom, but I won't travel, I won't travel. And they said but the price they're offering this year for speeches is way above what it was three years ago. And I said it's not the money, it's the time, it's the time to bother. Dean Jackson I said that's not the money Right exactly. Dan Sullivan Yeah. Dean Jackson Yeah, that's what I'm talking about. Dan Sullivan I mean in your experience, in my experience. I think you can see a trend here. I am too. Dean Jackson Yeah, exactly, I'll tell you what would be a new and unique and delightful experience is my ears perked up to FreeZone in Toronto in April of next year, that might be enough to tell you I'm very excited to get me on a plane, very excited about that actually. But, D, you know, well, that's good, that's good. Yeah, well, I'm going to go back to my team. Dan Sullivan I said I just got word from Dean that he's really interested and we said, well, it's a lot of work. But you said we just have to have an offer for Dean that's compelling enough that he'll come to Toronto, did you see? That's it. I mean it might be a one person FreeZone, but it's worth it. Dean Jackson The table 10. We need anything. That's what I really miss the most the many of it. Dan Sullivan Yeah, well, the table's still there, but it's not 10. Dean Jackson Hey, did anybody take? Dan Sullivan over Jacques. Dean Jackson No, it's something else. Dan Sullivan now it's not a restaurant anymore. Oh, that's a shame. Dean Jackson Well, when you were saying thinking about the high quality mainland experiences that I'm noticing here. So there seems to be a trend. Now that's happening is gathering spots in a way. Now there's almost like modern day food court type of things, where we're getting a new place. Two of them in Winterhaven that are sort of outdoor common area with venue for live music and tables and picnic tables and that's stuff where you can kind of gather with a bunch of people but five or six restaurant concept, almost like food trucks or whatever, but in places where you can go and have five or six different food restaurant choices other than each of them opening up an individual restaurant they're sharing a common experience and architecturally they're really. They're reclaiming old warehouse space and things that are. They're making them really architecturally interesting and integrating outdoor space to make them really like you want to be there. Dan Sullivan Interesting, I was thinking about that this morning because on Richmond Street West. So if you remember your map, portland, where Portland Street is in North South Street and then you have Portland and a lot of restaurants. So it's just, it's north of Adelaide Street and then you have Richmond, but what's really interesting, there's a whole factory, old factory that was taken over and it was gutted, and it's a food center, just like you say, with lots of but the anchor restaurant in there is Susar Lee, so you can say that, yeah, I was going to say I just read about Susar Lee, yeah. And so the rent he was paying rent on just on King Street. So he's jumped out. His lease came up and he jumped and they offered him to become the anchor rest. So he'll have his whole restaurant in there, but instead of it being out on the outside, it's the rest of the food court with smaller restaurants and there's seating areas out in the center, but he's got his own seating area, like it's like a patio, but it's so. We were thinking about going there this week because it just opened in July and we wouldn't have gone there for the sake of the food court, but we would go there because that's where Susar is. Dean Jackson That's really interesting, because I just like. Dan Sullivan I mean, it's totally what you're talking about. Dean Jackson And it's just so funny that you mentioned that specific place, because I was just on Toronto Life this morning looking at that, because I often go there just to see keep up with what's going on, and I saw this about about Susar Lee's new place. So yeah, that is funny, but so that is kind of like now bringing it's almost like bringing back to the mainland being the, because that's a mainland experience. Dan Sullivan Yeah. Dean Jackson Digitize that yeah. Dan Sullivan And I mean there's just an enormous condo building going on in that area, so the residential population is always going up in that area. As a matter of fact, suit Sasha Kersmerk. Sasha, I think you know Sasha, he might. Sasha is almost 20 years in coach. He's the number one site surveying company in Toronto. Okay, so nothing. No project starts until the site survey is approved. Dean Jackson Right. Dan Sullivan By city officials and he's got roughly 80% of all the site survey projects in the city right now. I mean he's just the dominant and he said that basically from the plan for Toronto is from the lake going north. If you have Jarvis on the east and you have Bathurst on the west, okay, so you can think of all the streets in there that would go there, from there to basically four street, davenport, you know Yorkville. Dean Jackson Okay, yeah. Dan Sullivan It'll look like a mini manhattan island in 30, 40 years. Dean Jackson Yeah, wow, that's very interesting. It'll be all high rise and there's still high rise, yeah, and that's kind of the thing is being able to see that if you just look with your 2040 goggles on to see where that's heading, yeah, it's probably 2050, 2060,. You know and everything like that. Dan Sullivan But the other thing is Toronto is becoming very quickly a major industrial city between here and so here on Lake Huron it's all the way to the bridge across to the United States at Buffalo or at you know, the bridge in St. Dean Jackson Catherine's that goes across, and then in Western Ontario, the. Dan Sullivan Windsor-Chatham area to go across the Ambassador Bridge in Detroit and half the Canadian GDP. Gdp you know, money in, money off goes across those two bridges every year yeah. And the Canadian economy and he said the price of industrial land from here to Niagara Falls is just going through the roof. And he said things that were plotted out as residential areas. You know, single family residential areas they're getting outpriced in the market now by the industrial competitors. And it makes sense too if the Canadian dollar remains always weaker against the American dollar. It's, you know, it's $30, $34 today, you know. So there's always this big differential between the, because US is much more powerful economy you know it's got nine times the population. You know it's got nine times. It's got probably 10 times the consumption dollars that are available in all areas of business. So so you know you'll have an American factory and they say we're going to put a factory near Toronto on the Canadian side, and we're going to manufacture everything, paying Canadian prices for the manufacturing, selling it into the United States, bringing it back from the United States. Dean Jackson Wait a minute. That's your playbook. That's not any of your playbook. Dan Sullivan Oh, Mr Sullivan, this is Revenue Canada. We want to have a chat with you. Dean Jackson Yeah, exactly that's funny I was listening to. Dan Sullivan I was listening to Cloudlandia. Dean Jackson Oh man, that's funny. Dan Sullivan I get more tricks from Cloudlandia than anything else. I listen and watch. Dean Jackson I wonder you know if it's so, I think now a lot of this industrialization or re-industrialization, is it, do you think, driven by automation, like robotics and you know, automating manufacturing processes, that or what is it, do you think Well? Dan Sullivan I would say half of it is we can't trust China for anything in the future and everything that's being manufactured in China. We've got to bring it back. And since we're moving it out of China, we can get the same kind of deals in Mexico or even in the middle of the United States, and it will be 21st century industry, industry, and it'll be 21st century. The US has the greatest skilled population in the world. A lot of people don't think that's true, but hands down, at all levels of the economy, united States has more educated, skilled work per capita than any other country in the world. So the US there's factories in the US that can produce that the same, and it's skilled labor plus automation. So automation is definitely, I would say it's 20% of it. But also making your staff really close to your customers has enormous savings. Dean Jackson Yeah, yeah, it's fascinating times, Dan. I mean, if you're thinking, I have really been thinking about if we are at a plateau. Dan Sullivan Well, I think the I mean if it costs more for money, if it costs more for transportation, it costs more for energy and it costs more for labor, things are going to slow down. Yeah, and you know just that welding example I gave you of the 18 year old who can be making. I mean, somebody goes to you know university for four and learns a lot of theory and you know, is maybe 50 or $60,000 in debt at the end of four years. The person at 18 who became a welder is already buying their first house. You know they're. You know Exactly. Dean Jackson Like think about how, when you take the, you know, when you take the net difference between them investing four years with no income and going into debt to get a degree that gets them an entry level job when they get out with that degree. And so you know that's not compared to coming into a training program and making $60,000 and at the end of the four years making $100,000 and not having any debt. You're so much further ahead on that foundation. Dan Sullivan Yeah, yeah, I think there's going to be an explosive growth of community colleges that are integrated with the local business, you know, the basic industrial population and everything else. I checked the numbers about two years, the number of community colleges in the US and these would be made. These would be mainly two year, two year community colleges, yeah, and there was just under just under a thousand and two things I think are going to happen. That number will probably jump to 2000 over the next 25 years. But even the thousand that exists will double their size. They'll double their enrollment. Yeah, that's interesting, and I wonder, though, if they're you know, because they're doing like yeah, I mean you have like George Brown and in Toronto, and you have there's about, there's probably about four community colleges. That would what do you call a community college in the United States? There are before them in the Toronto area and they're at maximum. You know, they're at maximum enrollment. As a matter of fact, they have waiting lists now to get in. Yeah, and that's all skilled. You know it's all skilled trades. Dean Jackson Yeah. Dan Sullivan You come out being able to you graduate on a Friday and you go to work on Monday. Dean Jackson Yeah. Dan Sullivan The employers come to the colleges and they interview all work interviews are in your while you're at college. You're getting interviewed and some of you you're actually working at the place while you're in college. And you know, and yeah so I think that whole notion. Dean Jackson It doesn't matter how much you're working at the college. Dan Sullivan It doesn't matter how much you spend on college, you'll get paid, you know you'll get paid in the future, you know you'll get paid off easily in the future. I think that ended no 809 actually with the downturn there and I think that that was a huge interruption in the connection between higher education and future employment and I think that COVID put the nail in the coffin to that proposition. Dean Jackson Yeah, Well, yeah, I remember hearing Sheridan College, I guess is the one is yeah, share, yeah, and I remember they were. That was like the Sheridan animators were really in demand, that there was one of the places where you know Disney and others were Pixar were hiring. You know all the newly minted, you know digital animators that were coming out of that yeah. So I think that Ryerson has been another one of those. Dan Sullivan Yeah, there's a new Sound Studio, mostly post production. One of them is just building new studios in our building, but therefore they're not. They're not for live. You know, live production, their post production. So they have editing studios, but right behind us. So Fraser is the front street for us, but behind us is one called Pardee, which is basically a parking lot, and way at the end they have a live production studio, while ours will start being built in September and we'll have it in about six months, based on all the great input by your guy there in Orlando. Dean Jackson You know, we've designed it. Dan Sullivan We can handle six different people at the same time, six different studios being used at the same time Great production. But next, you know, next March, next April. Yeah, you know, I'm gonna live a long time. What's six months? You know. Dean Jackson Right, exactly, yeah, yeah. Dan Sullivan Anyway, but I went over and we did our recording of the quarterly book because you need real top-notch studio for a court to go audible and it was really great, but the guy who was handling us was a graduate from Sheridan College. Dean Jackson Yeah, I'm excited, I'm really. This is my thought, for I'm gonna do some thinking about, you know, establishing this thought. If we are in a plateau period. If we are in a slowdown, but in a plateau period of what is gonna be the you know what's shaping up here to do that same thing. I love looking at things like this. We're just gonna put it together Macro level, like that. Dan Sullivan Yeah, I'm gonna do a little thinking to a four slowdowns. You know, money, energy, transportation, labor, and I'm just going to have our clients go through it and say, if this is the obstacle, then what's the transformation? You? Know, and so, and how do you take advantage of the four slowdowns? Dean Jackson I think it's a neat idea I do too, Absolutely. I can't wait. I love it. Dan Sullivan Well, what a great way to spend the late morning on Sunday. I can't think of any better way. Dean Jackson It's like the perfect and there's no collection basket. Dan Sullivan There's no collection basket, no collection basket. Dean Jackson Maybe we should set some in, though without. Oh, there we go. Dan Sullivan Yeah, Anyway, we could have. We could have a digital collection basket at the end. Dean Jackson There we go. Yeah, exactly that's so funny. Dan Sullivan If this was useful, just you know, put your card up there next to the scanner and yeah, that's so good, I love it, no need to make change and no exactly, I'm good so funny, alrighty. I'm good for next Sunday I'll be back here. Dean Jackson Me too, I wouldn't miss it. Okay, okay, thanks, dan. Talk to you soon, bye, bye.

New York City's congestion pricing plan is facing another challenge. A new record label based in the city is providing a platform for differently-abled artists. And we speak with drummer and songwriter George Brown about the formation of the band Kool & The Gang nearly 60 years ago.

Broken People. Big God. - Esther (George Brown) by Phoenix Bible Church

This is the story of Eugene Asa Neil Carr, skirmish on Beaver Creek, told from the rewritten excerpts of Sheridan's Troopers on the Borders by De B. Randolph Keim and the first-person perspectives of George Brown. In October 1868, Eugene Asa Neil Carr defeated a large party of Cheyennes on Beaver Creek, Kansas, routed them on Solomon River on October 25, and drove them out of Kansas. On December 2, 1868, Carr led seven companies of the 5th U.S. Cavalry, four of the 10th U.S. Cavalry, and one of the 7th U.S. Cavalry out of Fort Lyon, Colorado. National Park Service historian Jerome Greene describes what happened to Major Carr. "Carr's undertaking was fraught with bad luck and worse weather. A command under William H. Penrose had departed Fort Lyon in November 1868 to establish a base camp along the North Canadian. Penrose contended with terrible snowstorms, his horses and mules froze, and he was forced to destroy scores more animals during his mission, jeopardized by failing rations and forage.”Cattle Drives WebsiteLegends of Dodge City WebsiteOrder Books

This week we humbly apologize to the squirrel. Across the whitetail's range, our collective love of deer and deer hunting has made many of us forget about what once was a very strong hunting tradition. We don't want to spook our deer, so we've backed away from roaming the woods in pursuit of bushy tails. Squirrels are a challenging target, live in beautiful hardwood habitats and can be fantastic table fare. On this podcast, super squirrel hunter George Brown helps remind us what we have been missing.  Warning: whether you're a seasoned hunter, or are just getting into the sport – this one will make you want to break day leaning against an old oak tree with a .22 rifle by your side. Be sure and check out the outstanding squirrel and dumplings recipe in the show notes.  Listen, Learn and Enjoy!Show Notes:  Nativ Nurseries Habitat Spotlight : Whitetail Oak Tree PackageUncle Ray's Boat Load of Chips Giveaway with SeaArk : ENTER HEREJoin Mossy Oak's Weekly Newsletter, The Branch Support the showStay connected with GameKeepers: Instagram: @mossyoakgamekeepers Facebook: @GameKeepers Twitter: @MOGameKeepers YouTube: MossyOakGameKeepers Website: Mossy Oak GameKeeper