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BOSSes Anne Ganguzza and Jennifer Sims, a voice actor, coach, and self-proclaimed "100% certified smarty pants," connect to explore the intricate layers of the voiceover industry. Listen in as we unpack Jennifer's unique journey, shaped by diverse experiences in acting, producing, and voiceover, offering a candid look into the crucial insights needed to navigate challenges and build a truly thriving business in today's landscape. Listeners will discover the essential role of professionalism and adaptability in connecting with clients, gain understanding of the industry's evolving demands, and appreciate the power of a well-rounded skill set.    00:01 - Anne (Host) Hey, guys, it's Anne from VO BOSS here. 00:04 - Speaker 2 (Announcement) And it's George the Tech. We're excited to tell you about the VO BOSS VIP membership, now with even more benefits. 00:10 - Anne (Host) So, not only do you get access to exclusive workshops and industry insights, but with our VIP Plus Tech tier, you'll enjoy specialized tech support from none other than George himself. 00:21 - Speaker 2 (Announcement) You got it. I'll help you tackle all those tricky tech issues so you can focus on what you do best: voice acting. It's tech support tailored for voiceover professionals like you. 00:32 - Anne (Host) Join us, guys, at VO BOSS and let's make your voiceover career soar. Visit voboss.com/vip-membership to sign up today. 00:45 - Speaker 3 (Announcement) It's time to take your business to the next level, the boss level. These are the premier business owner strategies and successes being utilized by the industry's top talent today. Rock your business like a boss, a VO BOSS. Now let's welcome your host, Anne Ganguzza. Hey everyone, welcome to the VO Boss Podcast. 01:04 - Anne (Host) I'm your host, Anne Ganguzza. Hey everyone, welcome to the VO Boss Podcast. I'm your host, Anne Ganguzza, and today I have the pleasure and honor of being with a very special guest, Jennifer Sims. Jennifer, yay! Hi, hi. 01:17 For those bosses who do not know Jennifer, she is a voice actor coach and 100% certified smarty pants. I'm so jealous, so jealous of that branding. She's known for her authentic, conversational, confident, and playful delivery and has a unique perspective from both sides of the glass, and works for clients such as Hyundai, Wells Fargo, CVS, Vons—the list goes on and on and on. She honed her quirky sense of humor studying comedy and improv, which is always so important, I think, for us as voice actors, at the Upright Citizens Brigade and The Groundlings, and that helped her to land on-camera commercials for Uber, Snapchat, and WebMD. She began her acting career out of high school and basically was on her own for a short period of time in LA as a very young girl, which is great, and also as a producer, has had the pleasure of collaborating on hundreds of radio, television, and promo spots and has worked with some amazing talent along the way. And what haven't you done, Jennifer Sims? 02:18 - Jennifer (Host) I'm telling you, so much, so much. Thank you, Anne. That was lovely. Not as much as I'd like, and hopefully more. Yeah, thank you. It's great to be here. Thanks for having me. 02:28 - Anne (Host) Yeah, absolutely. Well, I met you—well, I met you not like physically, but I met you through our VIP room and I was so, so impressed with your background and your wisdom and everything. So I wanted to make sure that I had an opportunity to have you on the show and so our bosses could also get to know you. So let's talk a little bit about your varied career, because I think it's super important in terms of why you're so successful now and how you started off with acting and then as a producer. Talk about that for a little bit and tell us how it's helped you become successful in your voiceover career. 03:06 - Jennifer (Host) Yeah, that's been very, like, it informs most of my career, certainly in the beginning, because when I decided to leave my director of broadcast job, I was working for an ad agency here in Los Angeles as the director of broadcast and I was bringing in a lot of voice actors for promo and commercials, etc. You know how it is when you see somebody and you're like, "Boo, why do they get to do it? I want to do it too!" But as I started my career, realizing that we're a part of the process, voice actors are part of a process, particularly in commercial, since that was my area, and when I was bringing in voice actors to record them, it comes very late in the process. Recording the voice actor for a commercial is one of the last things we do as a process in creating a commercial. 03:52 So, knowing that we're just—not just, I shouldn't say this, but we're part of a collaborative team, we're now brought into the team. We're problem solvers, we're creatives, along with the creative director, copywriter, and understanding why the copy is the way it is. I know a lot of us will—problem solvers, we're creatives, along with the creative director, copywriter, and understanding why the copy is the way it is. I know a lot of us will go, "Oh, this copy is terrible. It's poorly written," and, like, you don't know where that copy has gone. 04:12 - Anne (Host) Isn't that the truth? I love that you just opened up with that perspective because, honestly, like the nuggets of wisdom that people get out of listening—you brought them right at the front when people get for listening to a podcast or being educated. I love the fact that we are part of a process and you brought that to our attention because I think a lot of times we're in our bubble in our studios here and we forget that it's not just all about our voice, but it's part of a process and there's reasons for so many things. Right? There's reasons, and you're so absolutely right. 04:46 How many times have you gotten a piece of copy and I've heard my students, "Oh my God, this copy sucks!" Or I've read on some forum where people are like, "Oh my God, the copy sucks," and "Why does the copy suck?" But I think it's important to know that, yeah, we are part of a collaborative process and it doesn't begin and end with us, and that's an important part to understand so that we know where we fit in. And the more that I think we can predict how we can fit in best to complete the process, I think will really help us as actors. 05:13 - Jennifer (Host) Yeah, exactly, really well said and so true. It's like, how do we fit into this process? Because we do, and even now, as an actor working on my, I will sort of forget that there's a lot going on and that when I get copy and I'm like, "Oh, well, I don't know how many R&D, research and development meetings they had on this copy. I don't know what focus groups might have said about this copy." Like, big companies spend a lot of time and money making sure that their copy is delivering a message that they want, money making sure that their copy is delivering a message that they want, and a lot of things. On the ad agency side, we're looking at things—that copy, and I'm like, "Well, legal says we can't say that." 05:51 Right, or legal says we have to say this. So, you know, when we're sort of like, "Boo, the copy couldn't be you," it's like, "Well, you don't know why." Yeah, it may be a legal thing. 06:06 - Anne (Host) It may be a client directive, it may be, who knows. I always try to remember that because, like somebody, somewhere was paid money to write this copy, and they know that product, or there's an intent with that product, or there's an intent with that copy that we are not necessarily aware of, nor do they tell us, but it's something that I think that we, as actors, we need to create that story, even if they're not telling us what it is. We need to create that story so that we can connect as much as possible to that copy and fit into like what they hear in their head. Right? We need to fit that spec there. 06:34 - Jennifer (Host) Exactly, and I think it also goes to the idea of given a level playing field of extremely talented actors. Most often, I only needed one person to do the job to solve the problem of whatever problem we were trying to solve creatively. And so I think it's easy to start to feel like, "Oh, I got rejected. I don't book this kind of work." It's like, given a level playing field, just assume that somebody got selected. But it—a level playing field, just assume that somebody got selected, but it doesn't mean that everyone else was rejected. Honestly, as I was listening to actors, I'm like, I wouldn't get in all my auditions for, say, a television commercial voiceover, and I would maybe listen to 50, a hundred, and then call it down to present to my boss, my creative director and client, maybe 10. And any one of those people could have booked it. Somebody got selected, that's all. 07:27 - Anne (Host) It's just a matter of selection, and the thing of it is is that you're at the beginning of that process, listening to all of those auditions. You would narrow it down to a particular amount of people, but then, ultimately, the decision is not necessarily yours. So I think, voice actors, we forget that, that it can go to your boss and your boss is not. Maybe a casting director doesn't have an ear for it, or just this is what he had—he or she had in mind. And so the pick from then. I don't think it's always necessarily based on your acting skills. It's just like a feeling, maybe, that they have. "Oh, yeah, this sounds right." 08:02 - Jennifer (Host) Yeah, it's very subjective. Yeah, it's very subjective. 08:05 - Anne (Host) And I think we forget that. 08:07 - Jennifer (Host) Yeah, and I know that, being that it's so subjective, if you sound just not quite what they want. I had a creative director. I was presenting talent. This woman was extremely talented. I was advocating for her. He's like, "Eh, she sounds a lot like..." I forget if it was his cousin or his ex-wife or somebody. He's like, "And I don't like that person." So she just reminded him vocally of somebody in his world that he's like, "Don't like." She was very good, like perfect for the role, and, subjectively, my creative director was like, "Nope, reminds me of someone, and I don't like that person. Bye." And I'm like, "All right. Well, that's how that's going to go." Or we get replaced. I was the voice of a promo for a really, really long time. It was a great recurring gig and somebody new came in at the top. The client switched positions, new client, and they're like, "No, I want to pick the voiceover," and so, like, I was out. They felt like that was the prior stamp. 09:06 And now they wanted to stamp it with their own. 09:09 - Anne (Host) That's such a good point because a lot of times, like companies change directors, companies change in departments, and a lot of times you may be the indirect result of that or not like being let go because of things like that that you have absolutely no control over. And so that is also a big part of the process in our heads as actors. We need to remember that on any given day, that it's not always—I think that if you can come into your audition with the skills that you need—the actor skills. Everybody says, "What's trending? What's trending these days? What's the sound these days?" And I'm like, "I think just be an actor, have good acting skills." 09:48 Maybe have good acting skills, because I feel like if you have good acting skills and the person, like say you, right, that is at the initial level of listening to all of the auditions, right, you're going to be able to hear that from the get-go, from the first few words. You're going to hear, "Okay, here's an actor. Now, what I like about this actor is that I can work with this actor." So maybe they didn't give the precise read that you were looking for at the time, but you know that they're an actor and that they'll be able to be directed. Exactly. And I think that's so important—best that you can come in with in your audition, to be armed with your acting skills, to showcase those acting skills, because all the other stuff we just have no control over. 10:25 - Jennifer (Host) Exactly. Control what you can. You know, getting auditions in a timely—Anne, naming them properly, file naming. I always talk about like naming those. 10:34 - Anne (Host) Like, why is that so difficult? I don't know. I come from a technology background. It always amazes me how many times people like don't understand how to name files when here's the convention and yet somehow. Right, just copy and paste it and then write your name. 10:50 - Jennifer (Host) I don't know why, but I don't think actors realize that if they mislabel a file, it's going in the trash. That'll piss off somebody. 10:57 - Anne (Host) I mean, like me, especially somebody that I'm handling a lot of files, right, and especially like if I have control over it, like you're not hired, and if you're going to argue with me about the name of that file, or if I gave you a confusing—no. I mean, sorry, just follow the following instructions. 11:12 - Jennifer (Host) But yeah, I think that actors may not realize that if you are missing those little details, like not following the spec, or because you're just like running and gunning and just like, "I'm in a hurry, I'll just read the copy," or not connecting to the copy, or mislabeling the file, it's like that's going to get you booted out of the mix because there's just not enough time and people don't understand. "Oh, so I put my name before the client's name." It's like if you're in casting or you're producing, you're not just casting one thing. So if you put your name first before the client's name, I don't know what to do with this file. Or usually it goes into a database and so the database is just going to go, "I don't know what to do with this. Garbage." I think people just realizing like why it's so important could be helpful. So people just slow down a little bit and go, "Oh, what's the file convention?" That's it. That's my TED Talk on file name. 12:03 - Anne (Host) There you go. I like that. Well, I'm right there with you on the file—I'm on the file name, I know, because you're dealing with hundreds of files, I know, right? I mean. So I touched upon this a little bit in your bio, which I think is so interesting, is that you studied comedy. Talk to us. And improv, of course, everybody always says, "Yes, improv, improv," yes, and improv, of course, is so important. But I also think comedy, too, is important, because this is just my outside looking in perspective, right? When we're listening, right, we need to command the attention of the audience. Right? Whether we're voicing a commercial or a corporate narration or whatever it is, we need to engage the attention of the listener and that is important. And I feel like comedy is absolutely one of those techniques that can be used to get people's attention and keep it, and I think it's important that if you have comedy in your script, that you can find it and you can execute it. So talk to us a little bit about that and the importance of comedy and improv. 12:58 - Jennifer (Host) Definitely. Have you been seeing a lot of scripts or a lot of castings where it's like we want people with comedy and improv, even though they may not ask you to necessarily be super hilarious or improv, they're listening for a nuance? A nuance, exactly. Comedy is like very subtle, I think, in voiceover, because when I was producing on the agency side back in the day, comedy in commercials was a lot more prevalent. We had double copy. We very rarely have two characters talking anymore, so it was a little more like in your face kind of comedy. 13:33 Yeah, back and forth kind of. Yeah, back and forth, you could riff off the other person. Now we're pretty much just doing one person voiceover, so that comedy has to be layered in, but never steal from the actual hero—our product or our client. And I think a lot of times when we're newer as voice actors, we're going for the "yucks" like, and it's like, "No, that's going to get you also noticed for all the wrong reasons." So I think I agree with you entirely. It's got to be layered, it's got to be nuanced, and you have to be able to find it. Sometimes people when I'm coaching, they miss the joke. I'm like, "Do you see that there's like a little pithy wit here?" 14:10 - Anne (Host) They're like, "No." I'm like, "Great." Or a play on words. And here's the thing too, you know, in writing scripts for demos and for my students, comedy is tough to execute in a certain time, like comedy is tough, especially if you're doing comedy writing in a demo. It's very tough to execute without sounding like a one-liner dad joke, right? Yeah, oh gosh, so true. And especially if you need to execute that time and just in a 30-second, 15-second commercial, to execute comedy and a sale at the same time is tough. 14:38 It's tough to do, it's really tough and so it does become very nuanced, right? And corporate, like when you get into like something longer, like corporate narration, you're not going to necessarily find too much humor, unless the brand itself doesn't mind making fun of itself, right? There's not many corporate—not many companies, I know, that make fun of themselves unless they have quirky products, right? If that's our corporate culture, great, but a lot of corporate is like, "No, very straightforward." 15:02 But they might have a nuance, right, and so I love the fact that, yes, if they're looking for that nuance and that is something that is it's maybe a nuance, right, and so I love the fact that, yes, if they're looking for that nuance and that is something that is it's maybe a note, it's a wink, it's a point of view that I think if you can execute and it only needs to happen like a little instant, then that to me, I can hear it right away and people can hear it right away. 15:23 They might not put their finger on it and say, "Oh, that was funny, like ha ha, knee slapping funny," yeah, but the execution of it is really it's key, and I think that comedy and improv is wonderful for people to have as a background in their acting skills. Yeah, I agree, comedy's tough. Did you perform like stand-up comedy? 15:42 - Jennifer (Host) No, I actually took a couple. I'm like, "No, I'm a smart-ass," but that was tough. So I took—a friend of mine was teaching. She is a comic and she taught classes and I did two of her classes, and after the first class, she's like, "Okay, and you know, as you know, we're going to an open mic," and it was torture. It was brutal. Just a bar room full of people going, "Make me laugh," and I'm like, "This is hard." 16:11 - Anne (Host) Yeah, I can't imagine. I have a friend who did stand-up in Burbank. Right? Everybody's at Flappers. Everybody's at Flappers and, "Come see my show at Flappers," and if you want to feel challenged, I mean stand-up at a mic in front of an audience. That's like, "All right." 16:26 - Jennifer (Host) Yeah, like just staring at you and you're sitting with the mic going. 16:29 - Anne (Host) Make me laugh. But there's where I think, like the thinking fast on your feet is going to help you, and I think it's going to help you no matter what. I mean those of us who aren't necessarily doing comedy like stand-up comedy, but here we are in our booths and we're doing auditions, right? I think, if you have the time to evaluate and analyze your script and find the humor—I mean we have the luxury of some time of finding that humor and being able to execute upon that. I think if you can do that, if it's there in the copy, that's what you try to put up front and showcase. 17:02 - Jennifer (Host) I always say I'm going to zag. If everyone else is going to zig, I'm at least going to zag appropriately, because they also don't want to be the actors like. "Well, I remember her for the reason that she went off the rails." It has to make sense. 17:15 - Anne (Host) It has to make sense for the copy, right? And so I feel like that improv also, when I ask my students to create the scene, right? Be actors for a corporate narration that might be talking about investments or something that might sound dry. What is that story? Who are you talking to? Why does it matter? 17:31 You've got to be able to have that quick, like, let me create the scene and let me respond to it, right, and that just helps to enhance your script analysis, the speed at which you do that, and also if you're being asked live, like, "Give me an AB of that," or an "ABC of that." 17:45 - Jennifer (Host) Yeah, how are we going to do that if you haven't created exactly scenario? I always think about how, in scene work and acting, we think about the moment before. Yes, and it's always because you'll hear actors, or I've heard this in auditions lots, where I'm listening to an audition, particularly when I was producing, it's like, "I don't even know why." I hear them saying the script. Why are they saying those words? Why are you even talking? It feels like you just sort of like dropped in cold and started talking, but I don't know why. Yeah, and I always can hear an actor who's a little bit more connected to the copy. Yeah, absolutely, and that's because they created some reason for talking in the first place. 18:21 - Anne (Host) Yeah, they created a reason to say those first words. There's got to be a response or a reaction. I say that even for corporate copy, definitely. 18:29 - Jennifer (Host) Even for e-learning. 18:30 - Anne (Host) You know what I mean. Like you've got a student that just asked you a question and so otherwise, it sounds like to me, I'm always telling my students, it sounds like once upon a time I started a monologue. 18:39 - Speaker 2 (Announcement) Yeah. 18:40 - Anne (Host) And it just became like, "Oh, I picked this thought out of the air and I just started saying it." 18:44 - Jennifer (Host) And there's no reason for it, and so it's weird how we can hear that, isn't that weird? It's like the microphone, sort of like picking up your thoughts, sort of like the camera records thought. That's why you've got to have something going on behind your eyes. 18:55 - Anne (Host) I think it's like you can hear somebody reading, right, because there's a certain melody and—and I know there's got to be scientific evidence, right? There's a melody that we have when we read words and I know it very well because I'm always telling people to stop reading. Start talking. 19:08 - Jennifer (Host) Stop reading. You sound like you're reading. 19:11 - Anne (Host) And so there's a melody to just reading the words, and it seems to start at the same pitch, like, "Hi, I'm Anne, I started here once upon a time." I've heard casting talk about this. 19:21 - Jennifer (Host) Voice casting agents will talk about this all the time. It's like, again, given a level playing field, the first people we're going to boot out of the running are people who sound like they're reading as opposed to talking, and it's a challenging skill set because we are literally reading scripts, but we're interpreting written speech into spoken speech, and it's a skill set. So it takes time. And I was thinking about how, whenever I'm auditioning for something, I think, well, I'd love to book it, of course, but I always think I'm not auditioning for this one, I'm auditioning for the next one, because, let's say, you know, I don't get selected for this one. I want you to remember me for the next one. So, something I do in this audition, I want to spark a little like, "Well, let's keep her in mind for something else down the road," because that's all I can control, absolutely, absolutely. 20:13 - Anne (Host) Speaking of auditioning and being an active voice actor and a woman of a certain age, and I say that, you look amazing. 20:19 - Jennifer (Host) Well, thank you, but let's face it. We've been in the business for a while, not a teenager. 20:25 - Anne (Host) Yeah, I cannot sound millennial, no matter what. 20:27 - Speaker 2 (Announcement) I do, even though I have a younger sounding voice. 20:29 - Anne (Host) No, it's mostly in the attitude. But let's talk a little bit about having been in the community and been in the industry for a while. What's it like these days being a little bit older in this industry? How are you finding work? Is it plentiful? Are you finding? 20:42 - Jennifer (Host) Yeah, I mean it's plentiful, but I still think that in general we're youth-oriented. 20:49 So if you're over a certain age, 40 or beyond. Oh, let's face it, I haven't seen 40 in a minute. Yeah, me either. And look at us, we're thriving. There we go. The voiceover industry is definitely very inclusive. It's getting more diverse all the time. Like when I was producing commercials, you most definitely had to sound a certain way, be of a certain demographic, and now we're hearing all sorts of wonderful, diverse voices. I still think there's room for us to include more voices that are definitely over 40. I'm still hearing people on the air where I'm like, "You don't sound old enough to tell me about retirement or having a baby." 21:27 - Anne (Host) You sound like a kid. I always try to tell people I start with the product, because I feel like companies are going to promote their products to the demographic they can sell to. 21:38 So it starts there, right? So what sort of a product would you sell to a demographic of females over 40 or females over 50? And I feel like that's where it starts. I feel like the younger sounding. I think it's because the company is trying to expand their demographic to make more sales. I think that's where it starts anyways, because I'm always saying, "Well, the trend right now is a little bit towards more millennial, and that's just the way it is." But I feel like there are certain products that a millennial does not sound realistic. 22:04 - Jennifer (Host) Talking about like Depends, right, or retirement or certain financial instruments or mortgages or things where it's like wouldn't you have to be a little older to be getting? An elder millennial, at least to talk about that. 22:17 - Anne (Host) Go you elder millennials. It's hard to believe. I know that in automotive that was a big thing because with Uber and bosses out there, if you study like it's not hard to study, like demographics and marketing, right? I mean during the pandemic nobody was buying cars and younger people were not buying cars because they were really reliant on Uber and Lyft and the rideshare stuff. 22:38 And so car companies started really marketing hard towards younger people and that changes who they hire right to do their voiceovers, and so I think it's something, bosses, that you need to really like spend a few minutes every day studying the market that you want to sell into. Really, it's not hard, it's Google. 22:57 - Jennifer (Host) Yeah, it's iSpot, Google. And. 23:00 - Anne (Host) Google says that honestly, like you can just type in, like, you know, demographic, automotive demographics or, you know, trends, it's easy to find that out and that can help inform you educationally what you might be auditioning for, how you would respond to an audition, right? What is the company? 23:18 - Jennifer (Host) Who are they targeting their sales to, or who you're, if you're doing direct marketing, which I think every voice actor should be doing, if you're directly marketing yourself to a client. It's like, do you vibe with that client? Are you appropriate for that client? So that's basically how I'm represented. I have talent agents across the country and it's very clear to me that my reps are very good about knowing what my wheelhouse is. So I do get a lot of healthcare, insurance, tech, things like that—healthcare, insurance, tech, things like that, because that's who I vocally appeal to. 23:53 It makes sense, and women have an enormous buying power because we make most of the household buying decisions in most households, and so, even though I still think the guys are doing about 60% of the commercial voiceover work, we're at 40%, so we're catching up, but I think companies are starting to realize that women's voices are appropriate for their products and they want to market to us. So I think we're doing better all the time. So, yeah, there's a lot of content out there. 24:22 - Anne (Host) So I would say that, with all our wisdom, with all your wisdom—with our collective wisdom, with all our—no, with your wisdom. What would be your best tip for people that are just starting out today? Because the industry has evolved over the years and it has definitely changed. So today, if somebody's interested in pursuing voice acting, what do you say to? 24:41 - Jennifer (Host) Them? Brand spanking new, I'd say, and I know people are like, "But you all are coaches, so of course you're going to say this," but I would say this even if I didn't coach it: it is a skill set. And so I think you've got to start with good training, and I tell my students this all the time: Get involved in the voiceover community, get your squad together, get an accountability group, a voiceover workout group. You and I were just at the Nava Gala. Is it Gala or Gala? 25:07 - Anne (Host) Gala. 25:09 - Jennifer (Host) I think Gala. 25:09 - Anne (Host) Gala sounds more elegant. 25:11 - Jennifer (Host) Nava Gala. 25:12 - Anne (Host) We're the Nava Gala. 25:13 - Jennifer (Host) And it's just, it's a constant reminder that when we're so isolated and working on our own, if we don't have community around us, this job is hard. It is. I love the voiceover community so much, and so we have a community around us. We're learning things, we're sharing things, and so I always suggest to people, they're like, "Oh, I don't know what to do. How do I help myself in this career?" I'm like, "Well, get good training and get involved in the community so that you're constantly learning from your peers." Or at least, because we're working by ourselves, it can feel a little lonely and isolating. 25:47 - Anne (Host) Get some VO pals and get lifted up and listen to podcasts like the VO Boss podcast. 25:52 - Jennifer (Host) Yes, please. Listen to VO Boss, listen to VO Boss, guys. I've been doing this for eight years now. 25:59 - Anne (Host) Oh my gosh, it seems so forever. Eight years, amazing, every week. 26:03 - Jennifer (Host) I love it. Oh, my goodness. 26:04 - Anne (Host) Wow. 26:16 - Jennifer (Host) So if bosses want to find out more about you, where can they find out more about you? 26:18 - Anne (Host) I'm a busy kitty on the Instagram at Sims, my website, Sims. I'm busy there too, so, yeah, awesome, come see me. Well, Jennifer, it has been so much fun. I think we could probably talk for another hour or hours. 26:27 - Jennifer (Host) It would be a delight, but I know you're booked and busy, so we'll get on to other things. 26:31 - Anne (Host) But I thank you so much for spending your morning with me and bosses, make sure you look up Jen. Can I call you Jen? Jen? 26:40 - Jennifer (Host) Yeah, go by Jen. Look up Jen. I want to say Jennifer. Jen. 26:42 - Anne (Host) Check out Jen's website and check her out on her socials. Jen, check out Jen's website and check her out on her socials. Yes, please, bosses. 26:49 - Jennifer (Host) Yes, absolutely. 26:56 - Anne (Host) Thanks again, I'm going to give a great big shout out to our sponsor, IPDTL. You too can connect and network like bosses. Find out more at IPDTL.com. You guys have an amazing week and we will see you next week. Bye, bosses, you're the best. 27:06 - Speaker 3 (Announcement) Join us next week for another edition of VO Boss with your host, Anne Ganguzza, and take your business to the next level. Sign up for our mailing list at voboss.com and receive exclusive content, industry revolutionizing tips and strategies, and new ways to rock your business like a boss. Redistribution with permission. Coast to coast connectivity via IPDTL.

[iSpot.tv] How Finance of America's new TV ad is playing a new tune. [HECMWorld] Why cash flow is better than income for retirees. [Springer] Reverse Mortgages and the Italian Population. Watch our video podcast here!

In this episode of "Exploring CTV and Retail Media Networks," hosts Dan Massimino and Evan Hovorka are joined by Sean Muller, the founder and CEO of iSpot. Join them as they discuss the rapid shift from linear TV to CTV and the rise of ad-supported models in CTV. They also explore the importance of standardization in the industry, integrating with partners, and all things AI. Sean has founded and served as a key executive in half a dozen ventures throughout his career, including Demand Media, MediaNet Digital, eNom and The Wedding Tracker, and brings a real wealth of experience to the show. If you enjoyed this episode, don't forget to subscribe and review on Apple Podcasts, Spotify, and Google Podcasts.Sean Muller LinkedIniSpot WebsiteEpisode Highlights:[16:54] Sean discusses the emerging trends in the video and streaming space, noting the rapid shift from linear TV to CTV and the rise of ad-supported models in CTV (as opposed to a subscription-based model). He also talks about the nontraditional TV networks in CTV, such as YouTube (50% of which is viewed on a TV screen) and Amazon (which has a TV network and owns Thursday Night Football)o. Sean then highlights the industry trend towards retail media networks. [23:29] Sean emphasizes the need for standardization in measuring video advertising across platforms, from “traditional linear TV”, to on-demand streaming services, to social media sites such as TikTok. He notes that historically TV ads were measured by overall viewership, rather than the actual reach (ie impressions). Sean's company, iSpot, has focused on creating a standardized metric for video impressions, meaning that each ad, regardless of platform, is measured equally. While the industry is moving towards this approach, Sean suggests that not every publisher or advertiser has agreed on a standard.[32:35] Sean discusses how iSpot handles integrating data from "walled gardens" (platforms with restricted data access) by using a sophisticated approach based on household and individual identity mapping. He explains that Ispot integrates with partners by starting with their ID spine, mapping out households and individuals across the United States. This approach allows for seamless integration with partners and simplifies the process for advertisers and vendors; it also allows advertisers to understand how their ads perform across different platforms, ensuring accurate deduplication and comparison.[34:48] Sean distinguishes between traditional AI (advanced machine learning) and generative AI, which involves generating different versions of ads or ad components, saying that there is a significant amount of “machine-learning AI that could be done to optimize the media”. He also mentions their investment in AI infrastructure and how they use their rich history of TV ads to generate ideas and speed up the creative process by creating storyboards or scripts. Sean emphasizes that AI won't necessarily be used to create an entire ad, but could speed up some of the more time-consuming or expensive aspects involved in their creation. Hosted on Acast. See acast.com/privacy for more information.

With Cathy Hackl and Lee Kebler on a recording break for the next couple of weeks, we would like to introduce you to another sister podcast. This time, we bring you a hot episode from The Garage. Join your hosts, Dan Massimino and Evan Hovorka, as they talk to Sean Muller, the founder and CEO of iSpot, a company focused on unified measurement for Streaming, TV, and Social Video Effectiveness.Listen in as they talk about the evolution of TV and video advertising. Sean discusses Ispot TV's journey from real-time ad tracking to optimizing video investments across multiple channels. He highlights the industry's shift from linear to connected TV (CTV) and the growing role of ad-supported models and nontraditional networks like YouTube and Amazon. The discussion covers the importance of standardized measurement, the integration of retail media networks, and how AI is transforming advertising strategies. Sean also explains the concept of walled gardens and explores its challenges. He touches on using identity management for precise targeting and personalization and its impact on the ROI of your ad spend.Subscribe now for an engaging and insightful experience!Sean Muller BioSean Muller is the Founder and CEO of iSpot.tv, the leading TV ad measurement solution trusted by hundreds of leading brands, agencies, and networks. Founded in 2012, iSpot was the first company to bring real-time transparency to linear TV advertising and later became the first to commercialize Smart TVs for measurement purposes at scale. iSpot is known for transforming the marketplace by delivering rapid creative assessment, business outcome, and cross-screen TV measurement that networks and brands can use to plan, buy, and optimize TV advertising.Sean has founded or served as a key executive in more than a dozen ventures, including Demand Media, MediaNet Digital, eNom, and The Wedding Tracker. He graduated from the University of Washington and lives in Bellevue, WA, with his wife and two boys.Sean Muller on LinkedIniSpot Website Hosted on Acast. See acast.com/privacy for more information.

In this episode of The Garage, hosts Dan Massimino and Evan Hovorka are joined by Sean Muller, the founder and CEO of iSpot. Join them as they discuss the rapid shift from linear TV to CTV and the rise of ad-supported models in CTV. They also explore the importance of standardization in the industry, integrating with partners, and all things AI. Sean has founded and served as a key executive in half a dozen ventures throughout his career, including Demand Media, MediaNet Digital, eNom and The Wedding Tracker, and brings a real wealth of experience to the show. If you enjoyed this episode, don't forget to subscribe and review on Apple Podcasts, Spotify, and Google Podcasts.Sean Muller LinkedIniSpot WebsiteEpisode Highlights:[16:54] Sean discusses the emerging trends in the video and streaming space, noting the rapid shift from linear TV to CTV and the rise of ad-supported models in CTV (as opposed to a subscription-based model). He also talks about the nontraditional TV networks in CTV, such as YouTube (50% of which is viewed on a TV screen) and Amazon (which has a TV network and owns Thursday Night Football)o. Sean then highlights the industry trend towards retail media networks. [23:29] Sean emphasizes the need for standardization in measuring video advertising across platforms, from “traditional linear TV”, to on-demand streaming services, to social media sites such as TikTok. He notes that historically TV ads were measured by overall viewership, rather than the actual reach (ie impressions). Sean's company, iSpot, has focused on creating a standardized metric for video impressions, meaning that each ad, regardless of platform, is measured equally. While the industry is moving towards this approach, Sean suggests that not every publisher or advertiser has agreed on a standard.[32:35] Sean discusses how iSpot handles integrating data from "walled gardens" (platforms with restricted data access) by using a sophisticated approach based on household and individual identity mapping. He explains that Ispot integrates with partners by starting with their ID spine, mapping out households and individuals across the United States. This approach allows for seamless integration with partners and simplifies the process for advertisers and vendors; it also allows advertisers to understand how their ads perform across different platforms, ensuring accurate deduplication and comparison.[34:48] Sean distinguishes between traditional AI (advanced machine learning) and generative AI, which involves generating different versions of ads or ad components, saying that there is a significant amount of “machine-learning AI that could be done to optimize the media”. He also mentions their investment in AI infrastructure and how they use their rich history of TV ads to generate ideas and speed up the creative process by creating storyboards or scripts. Sean emphasizes that AI won't necessarily be used to create an entire ad, but could speed up some of the more time-consuming or expensive aspects involved in their creation. Hosted on Acast. See acast.com/privacy for more information.

In this episode of Founded & Funded, Madrona Venture Partner Len Jordan sits down with Sean Muller, Founder and CEO of iSpot, to talk about the company's evolution in measuring TV advertising for both conventional and streaming platforms. Sean delves into strategic partnerships, acquisitions, and the rise of ad-supported streaming. They discuss the impact of sports on advertising, challenges for marketers in balancing investments across various channels, and the innovative strides iSpot is making with AI-driven planning and real-time data. Tune in to explore the future of TV advertising and iSpot's role in shaping it. Transcript: https://www.madrona.com/transforming-tv-advertising-ispot-sean-muller-the-role-of-ai-future-of-streaming (00:00) Introduction (01:35) The Rise of Ad-Supported Streaming (02:42) Streaming vs. Traditional TV Advertising (04:43) The Impact of Sports on Advertising  (05:51) Challenges for Modern Marketers  (06:37) Audience Differences and Interactivity  (10:40) iSpot's Evolution and Strategic Moves  (12:04) Real-Time Data and Optimization  (12:36) Planning and Programmatic Buying  (17:13) Navigating the Competitive Landscape  (22:57) Acquisitions and Integration Success  (27:23) Innovation and Future Trends

This week Audrey Moore talks to actor David Rosenblatt! David has finished every Self Tape May challenge and his credits include The Minx, Little America, tons of commercials, and a Tony nominated play. He will also teach you at his yoga studio Fire Hot Yoga.   Sponsored by: Casting Networks - CastingNetworks.com/Audrey PROMO CODE: AudreyCN   Please RATE THIS PODCAST to feed the Review Baby! www.RateThisPodcast.com/audrey Call in with listener questions (667) Actor-70 or (667) 228-6770   Links: David Rosenblatt's Instagram: David Rosenblatt Instagram Fire Hot Yoga (David's Yoga Studio): Fire Hot Yoga Self-Tape May Information: Self-Tape May iSpot.tv for commercial trends: iSpot.tv Casting Society of America: Casting Society Avital Ash ep about creating a pilot: https://podcasts.apple.com/ie/podcast/booking-your-own-pilot-avital-ash/id1233482206?i=1000463137861 Link to the renewed TV shows list on Audrey's Instagram: LA, NY, ATL   Host: Audrey Moore Producer: Jesse Lumen Editor: Anisha Adusumilli Mixer: Thomas Snodgrass Show Music: Ari de Niro Special thanks to Thomas Snodgrass for assistance with microphones, Aalok Mehta and 108 Hill for help with the theme song.

President Biden has signed three new laws containing policy changes that will have long lasting effects on the people of Palestine. In this episode, seven months into the ongoing destruction of Gaza, see what Congress and the President have enacted in your name. Please Support Congressional Dish – Quick Links Contribute monthly or a lump sum via Support Congressional Dish via (donations per episode) Send Zelle payments to: Donation@congressionaldish.com Send Venmo payments to: @Jennifer-Briney Send Cash App payments to: $CongressionalDish or Donation@congressionaldish.com Use your bank's online bill pay function to mail contributions to: Please make checks payable to Congressional Dish Thank you for supporting truly independent media! Recommended Sources for Gaza News Background Sources Recommended Congressional Dish Episodes Who Pays for Corporate Media 2024. iSpot.tv. 2024. iSpot.tv. Hamas Dan De Luce et al. April 18, 2024. NBC News. December 29, 2023. International Court of Justice. Abdelali Ragad et al. November 27, 2023. BBC. Destruction of Khan Yunis Bisan Owda. May 21, 2024. AJ+ (@ajplus) and Al Jazeera English (@aljazeeraenglish) on Instagram. Israel's Buffer Zone Around Gaza Ruwaida Kamal Amer. May 21, 2024. +972 Magazine. Camille Bressange et al. March 16, 2024. The Wall Street Journal. February 2, 2024. Jon Gambrell. AP News. Dov Liber et al. January 25, 2024. The Wall Street Journal. Loveday Morris et al. January 24, 2024. The Washington Post. Israeli Settlements March 20, 2024. CNN on YouTube. Amira Hass. March 12, 2024. Haaretz. Julia Frankel. February 23, 2024. AP News. Nir Hasson and Rachel Fink. January 28, 2024. Haaretz. Itai Weiss. December 27, 2023. Haaretz. Hagar Shezaf. December 11, 2020. Haaretz. Updated February 2, 2024. Encyclopedia Britannica. AI Kill List Isaac Chotiner. April 12, 2024. The New Yorker. April 5, 2024. Amy Goodman and Yuval Abraham. Democracy Now! Avi Scharf. April 5, 2024. Haaretz. Ishaan Tharoor. April 5, 2024. The Washington Post. April 3, 2024. The Guardian. Yuval Abraham. April 3, 2024. +972 Magazine. Yuval Abraham. November 30, 2023. +972 Magazine. Patrick Kingsley and Ronen Bergman. Updated Oct. 18, 2023. The New York Times. Ami Rokhax Domba. February 14, 2023. Israel Defense. Tamir Eshel. June 13, 2021. Defense Update. Israelis Who Died in October October 19, 2023. Haaretz. Massacre at al-Shifa Hospital Tareq S. Hajjaj. April 11, 2024. Mondoweiss. Abeer Salman et al. April 1, 2024. CNN. Supplemental Funding April 24, 2024. The Washington Post. April 21, 2024. PBS NewsHour. UNRWA Ayesha Rascoe and Jackie Northam. April 28, 2024. NPR. Emanuel Fabian. February 16, 2024. The Times of Israel. Who Governs Palestine Noa Rone. March 8, 2024. Unpacked. UN Human Rights Council Updated April 5, 2024. United Nations Human Rights Council. April 18, 2023. United Nations General Assembly. ‘Detainee' treatment February 19, 2024. Office of the United Nations High Commissioner for Human Rights. United Nations Information Service. July 10, 2023. Office of the United Nations High Commissioner for Human Rights. Suppression of Journalism March 20, 2023. Jewish News Syndicate. January 24, 2002. BBC. Why It's Not a War Ajit Singh (@ajitxsingh). November 14, 2023. X. Francesca Albanese. November 14, 2023. National Press Club of Australia on Youtube. Torture in Israeli Detention Facilities May 11, 2024. Middle East Eye on YouTube. CNN's International Investigations and Visuals teams. May 11, 2024. CNN. Netta Ahituv. May 4, 2024. Haaretz. Leahy Amendment Ben Samuels. April 27, 2024. Haaretz. International Criminal Court Michel Martin and John Bellinger III on All Things Considered. April 16, 2022. NPR. Laws Audio Sources May 5, 2024 Al Jazeera English on Instagram (@aljazeeraenglish) Imran Khan: If you are watching this prerecorded report, then Al Jazeera has been banned in the territory of Israel. On April the first, the Knesset, the Israeli parliament, passed a law that allowed the Prime Minister to ban Al Jazeera. He's now enacted that law. Let me just take you through some of the definitions. Within the law, they've banned our website, including anything that has the option of entering or accessing the website, even passwords that are needed whether they're paid or not, and whether it's stored on Israeli servers or outside of Israel. The website is now inaccessible. They're also banning any device used for providing content. That includes my mobile phone. If I use that to do any kind of news gathering, then the Israelis can simply confiscate it. Our internet access provider, the guy that simply hosts aljazeera.net, is also in danger of being fined if they host the website. The Al Jazeera TV channel [is] completely banned. Transmission by any kind of content provider is also banned and holding offices or operating them in the territory of Israel by the channel. Also, once again, any devices used to provide content for the channel can be taken away by the Israelis. It's a wide ranging ban. We don't know how long it'll be in place for, but it does cover this territory of the state of Israel. May 5, 2024 Al Jazeera English on YouTube Cyril Vanier: So what does the war look like, as presented by Israeli media to Israelis? Gideon Levy: Very, very simple picture. We are the victims. We are the only victims, as usual. There was the 7th of October, and we will stick to the 7th of October, which was almost the Holocaust in the eyes of most of the Israelis and this 7th of October enables us and legitimizes us to do whatever we want in Gaza. Gaza doesn't interest us. Gaza is Hamas and Hamas, Gaza. And therefore, we should punish them all, and if possible, even kill them al, destroy them all, and we will. We have no interest to see what's the suffer[ing] of Gaza, what's the punishment of Gaza, what the innocent people of Gaza are going through. We are only interested in the brave soldiers, the hostages and the victims of the 7th of October. That's our world, and that's the world that the Israeli media as a whole is describing to its viewers for seven months now, seven days a week, 24 hours a day. Only this, you don't see Gaza. April 10, 2024 House Foreign Affairs Committee Witnesses: Samantha Power, Administrator, U.S. Agency for International Development Clips 47:15 Samantha Power: Again, you had very little, almost no child malnutrition before October 7, and you now have a massive spike. And particularly in the north, one in three kids are suffering from malnutrition. And again, the reports of famine also spreading to the south. It makes sense because so little assistance has gotten in commensurate to the needs of more than 2 million people. 1:13:55 Samantha Power: My understanding - this is something that Secretary Blinken is managing and you'll have a chance I'm sure to engage him on - but the national security memorandum 20 that was issued not long ago is taking 620 I and those elements into consideration. I think that report is due out in early May. 1:41:40 Samantha Power: You know well, because you've been in so many of these countries, we don't have an NGO out there -- This is not your traditional UN agency, where you can have like schools in a box, teachers in a box, health workers in a box. Hamas was the state and Hamas won the election back in the day. And Hamas had far too much influence on certain individuals, or even certain individuals were, it seems, potentially part of Hamas. But the fact is, the administration of schools and health systems was UNRWA. There's not an NGO or another UN agency that could perform the function of a State like that, or at least I haven't encountered one in my years of humanitarian service. 2:02:20 Samantha Power: One little parenthetical is, Israel, about a month ago, in light of the horrific allegations, made a decision that UNRWA could not participate in convoys to the north - humanitarian convoys. But what that meant was, fundamentally there could be no convoys to the north because you can't, as bombs are falling and kinetic operations are underway and terrorists are being pursued, suddenly invent an entire humanitarian infrastructure. 2:17:20 Rep. Joaquin Castro (D-TX): I want to ask you obviously about the very urgent situation humanitarian situation in Gaza. In your testimony, you said that the entire population of Gaza is living under the threat of famine. News reports came out recently that certain USAID officials sent a cable to the National Security Council warning that famine is already likely occurring in parts of the Gaza Strip. According to the report "famine conditions are most severe and widespread in northern Gaza, which is under Israeli control." Do you think that it's plausible or likely that parts of Gaza and particularly northern Gaza, are already experiencing famine? Samantha Power: Well, the methodology that the IPC used is one that we had our experts scrub, it's one that's relied upon in other settings, and that is their assessments and we believe that assessment is credible. Rep. Joaquin Castro (D-TX): So there's a famine is already occurring there. Samantha Power: That is… Rep. Joaquin Castro (D-TX): Yes, okay. 2:18:14 Rep. Joaquin Castro (D-TX): More than half of the population of Gaza is under the age of 18, as you know, and are seriously affected by the lack of access to food and nutrition. Various organizations, including the United Nations, have warned that hundreds of thousands of Palestinian children may die if they don't get necessary food and nutrition assistance in just the next two to three weeks. Has USAID made such an assessment itself? And do you have a sense of how many such children might be at risk of dying if they don't get access to food and nutrition that's currently unavailable? Samantha Power: I do not have those assessments on hand. But I will say that in northern Gaza, the rate of malnutrition, prior to October 7, was almost zero. And it is now one in three, one in three kids. But extrapolating out is hard. And I will say just with some humility, because it is so hard to move around in Gaza, because the access challenges that give rise in part to the malnutrition are so severe, it is also hard to do the kind of scaled assessments that we would wish to do. But in terms of actual severe acute malnutrition for under fives, that rate was 16% in January, and became 30% in February, and we're awaiting the the March numbers, but we expect it to -- Rep. Joaquin Castro (D-TX): So it got markedly worse. Samantha Power: Markedly worse. But extrapolating and giving you the overall numbers… Rep. Joaquin Castro (D-TX): And just to be clear, I realize you're not part of the DoD or the State Department even, working on these issues diplomatically. But is it your understanding that humanitarian assistance and food assistance is not supposed to be denied even when countries are at war with each other? Because there is this argument that if Hamas would release the hostages, if they would surrender, that this would stop, but there's certain laws of war and certain conduct that nations are supposed to follow, and that includes allowing for humanitarian assistance. Samantha Power: Correct. I mean, I will say, of course, we all agree the hostages should be released, absolutely. An absolute outrage that they had been kept this long and the horror and terror for their families, the families of those individuals I can't even contemplate but yes, food must flow. Rep. Joaquin Castro (D-TX): Kids can't be starved because you have two groups that are at war with each other. Samantha Power: Food must flow and food has not flowed in sufficient quantities to avoid this imminent famine in the south and these conditions that are giving rise already to child deaths in the north. 2:29:20 Samantha Power: Again, trusted partners like World Food Programme and UNICEF and others have not reported that Hamas is getting in the way of distributing humanitarian assistance. And I will say, nor are we getting those reports from the IDF who are present on the ground in Gaza. Rep. Kathy Manning (D-NC): I have been getting reports, in fact, that Hamas is targeting, punishing or hindering Palestinians who are working with the international community to provide humanitarian assistance. You have not seen any evidence of that? Samantha Power: I would be very interested in those reports, but that is not what our partners are reporting back to us. Rep. Kathy Manning (D-NC): Do you believe that Hamas is benefiting from the aid that we are providing to Gaza? Samantha Power: I mean, I don't even know how to think about that question in this moment when Hamas is on the run and being pursued across Gaza. So, you know, I don't think they are in a position, because of what the IDF is doing, to benefit per se. Would family members of Hamas potentially begin getting access at a food distribution? You know, that's possible. It's going to civilians. Rep. Kathy Manning (D-NC): Do you have any idea how Hamas fighters are getting their food? Samantha Power: I don't. Rep. Kathy Manning (D-NC): So it is a difficult balance to strike when we desperately want to make sure that innocent Palestinians don't suffer and don't starve, but we don't want to do anything to embolden Hamas. 2:46:10 Rep. Michael Lawler (R-NY): There was already serious concern with the operations of UNRWA prior to the administration's decision to cut funding. Further this past November, I led floor debate to pass the Peace and Tolerance in Palestinian Education Act, which discussed the anti-Jewish and anti-Israel curricula taught to children in Gaza and the West Bank, a curriculum taught by UNRWA employees. So while yes, we appreciate the prohibition on new funding in January, this is long overdue, as there were clear and present issues that UNRWA that look like were ignored by the administration. 2:48:45 Samantha Power: Putting people who want to eliminate another people in power is not anything that anybody would have wished. But the effect is that the governing institution had significant leverage over the UN agency that was carrying out -- Rep. Michael Lawler (R-NY): A terrorist state that has had control over this agency, which is in part why we have pushed to defund it. Would you support future year Appropriations defunding UNRWA? Samantha Power: I don't know if you've had a chance to talk to the King of Jordan, for example. Rep. Michael Lawler (R-NY): I've had dinner with him, in Jordan. Samantha Power: And about what it is going to mean for the Jordanian people to have 2 million young people basically looking for where their schools are going to get support. Now, it may be that the Europeans and others come in and address this issue and it doesn't -- Rep. Michael Lawler (R-NY): Defunding UNWRA does not mean that we don't deal with humanitarian issues. It doesn't mean that we don't -- Samantha Power: No, no but it just is the school system. Rep. Michael Lawler (R-NY): It doesn't mean that we don't deal with it, it means we find a different vehicle by which to do this, but UNRWA itself has proven to be corrupt. Samantha Power: You've been here for much of the exchange. There's no NGO, there's no UN agency that creates school systems. There's no, like, U haul where there's a school system that you just deploy in Jordan, to educate 2.6 million Jordanian kids, it just doesn't work that way. Rep. Michael Lawler (R-NY): Respectfully, being snide about it is not actually solving the issue here. The reality is UNRWA is not the vehicle by which we should be sending American taxpayer dollars at this point. It's just not. Samantha Power: We will follow the law. Rep. Michael Lawler (R-NY): Right, my question to you was, do you support moving forward? Samantha Power: I'm describing the benefits of educating young people across the region and providing health services, and I'm not seeing a viable alternative. So I would suggest -- Rep. Michael Lawler (R-NY): So you believe we should continue? Samantha Power: I think, first of all, we don't know what Gaza is going to look like after this war ends. Hopefully, Hamas will be dismantled and new institutions will be in place whereby they will take care of educating their own young people, and you won't need a UN agency to do it. But it is extremely important that we look out for young people in Gaza, it is going to do nobody any favors for them not to have access to an education Rep. Michael Lawler (R-NY): No, the fact is, on October 7, part of the reason that you had that type of terrorist attack is because of the level of hatred and anti-semitism that is taught in schools in Gaza. That is part of the problem here. And UNRWA helped in terms of allowing for that to occur under the guise of a UN agency. It is disgusting. It is shameful, and the fact that we as the United States have helped support that organization helped fund it is an embarrassment. And that's why we fought to defund it. 3:00:00 Rep. Madeleine Dean (D-PA): I am hypercritical of the alleged 12 or 15, who may have been infiltrating as Hamas, who may have participated in the October 7, horrendous barbaric attack. But you don't throw everybody and all the good work out. Because I want to ask you, if we continue this pause, if the world said we will not help you UNRWA, your however many thousands of workers who are on the ground, who keep coming to work even when their whole families are killed, what will happen with famine in Gaza, if we just shut it down? No more UNRWA. By the way, they're not educating. We know that they can't even do that now. They have incredibly important vaccines and medical aid to to be a part of, but the essentialness of food and water. What happens if we continue this disinformation campaign of 'Defund UNRWA'? Samantha Power: Well, first, thank you for bringing some facts into the conversation that I probably should have raised before, including just the horrific loss of life for those who work for UNRWA. And in general, you know, more than 228 workers killed by IDF or in my IDF military operations to this point, including, most recently of course, the World Central Kitchen colleagues, devastatingly. And thank you also for reminding us all. UNRWA is an organization in Gaza alone of 13,000 people. The vast majority of those people have not been propagating hate but have been actually trying to educate young people. The literacy rate in Gaza-West Bank, I think, is something like 99%. It's one of the most effective literacy efforts in any of the places that USAID works. In terms of what would happen if the whole thing shut down....Right now, it looks like other countries are stepping up to avert that scenario. But, you know, I just cannot overstate how chaotic and how horrific the conditions in Gaza are. You've spoken to them. The visuals speak to the level of destruction. There's no work-around for the infrastructure that they provide. After the war, when there's a new administration of Gaza, if that comes about, obviously, that's itself extremely complicated. You know, the question of who is providing education as they try to rebuild virtually everything from scratch and the education and the health sector? You know, some of these questions will be will be addressed. But right now, there is no way to avert large scale famine without relying on the humanitarian backbone that has been enriched for decades, and that remains UNRWA today. We are going to follow the law, we are going to work through other partners. But, I started to say this earlier: even the government of Israel, which had banned UNRWA's participation in convoys, because of the food crisis - and US engagement, I hope - has now decided that UNRWA can in fact be part of convoys going to the North because they recognize there's just no other way. Rep. Madeleine Dean (D-PA): Right. And I want to commend to anybody to please meet with the director of UNRWA who is stationed in Rafah: a 20-plus-year US military veteran. I don't know how people stay at this kind of work with the risks that they are taking, but they are there. Music by Editing Production Assistance

It's upfronts week, with many of the big TV networks, from Fox to Disney, Warner Bros. Discovery and NBCUniversal hosting their annual presentations. Streaming giants Netflix and Amazon are also joining the festivities.Measurement is emerging as an important part of this upfronts season, as advertisers are searching for more than just scale — they want to tie measurement and attribution data back to business results — meaning there is a bigger focus on the full loop from reach to conversion. Add in Nielsen, Comscore, VideoAmp and ISpot all jockeying to be the dominant measurement currency and there's a lot to talk about.Blockgraph co-founder and CEO Jason Manningham joins The Current Report to break it all down, plus how identity fits into the conversation and if there will ever be dominant walled gardens within the streaming space._______To read the full stories included in this episode:Retail data is entering the upfronts as measurement gets more important: https://bit.ly/3U7a1gYHow streaming consolidation could impact future upfront deals: https://bit.ly/4biGeZ1Future of TV Briefing: Upfront ad sellers prep performance-based pitches to address ad buyers' ROI obsession: https://bit.ly/3UV0EkVNBA Hunger Games Enter the Fourth Quarter: https://bit.ly/4dCyCCkTV upfronts and Newfronts calendar: https://bit.ly/4dyoRVD_______The Current Report is our weekly news roundup of what's happening in the world of digital media. We headline topical stories every edition — everything from connected TV to retail media networks to new initiatives around identity — offering our fresh take on why it's relevant for the marketing community. Subscribe: https://bit.ly/45HIaXH_______Each week, The Current gives you the most critical innovations in advertising that are happening on the open internet — identity, the future of TV, retail media, and beyond. Born inside The Trade Desk, The Current is a news platform dedicated to covering the latest in modern marketing — all from the front lines. Speaking to the marketing world's most influential players, we explain what these seismic shifts mean, how they are happening, and why they are taking place: https://bit.ly/3SAM0wR

This week Grey dives into Super Bowl 58 trends!  According to Nielsen the 2024 Super Bowl was the second most watched TV program of all time only behind was the 1969 moon landing broadcast. The game was watched on CBS, Paramount+, and Nickelodeon to a whopping 123 million viewers. Joey Scarillo and Mijal Buchsbaum discuss their favorite THINGS from brands who advertised during the game, and of course Taylor Swift!  The 5 Things: Brands tapping into scarcity. Two celebrities are better than one! Brands and Fever Dreams.Mascots Never Die! The Taylor Swift of it all!Hosts: Joey Scarillo, Mijal BuchsbaumSources: Brandwatch, Adweek, Sportico & iSpot.tv, Nielsen estimates from Forbes; NumeratorSpecial Thanks: Gabrielle Marchand, Claire Heaps, Samantha Fischer, Jean Donahue, Gabriella Mercier, Shylene Radinsky, Emily Rizzo,  Montana Allen, Brianna Hunt, Will Leonard, Alix Black and Ari SantanaTo subscribe to our newsletter, click HEREEmail us: Podcasts@Grey.com

Good morning from Pharma and Biotech daily: the podcast that gives you only what's important to hear in the Pharma and Biotech world. Today, we will be discussing the revolutionary potential of artificial intelligence (AI) in scientific research, as well as the latest news in the pharmaceutical and biotech sectors.Artificial intelligence (AI) has the power to transform the work of scientists and become an essential research partner. Pharmaceutical companies and contract research organizations (CROs) are recognizing the need to integrate AI into their labs and workflows to maximize output and scale their research effectively. By utilizing AI technologies, scientists can automate repetitive tasks, analyze large datasets more efficiently, and identify patterns and insights that may not be apparent to the human eye. AI can also assist in data management by organizing and categorizing data, making it easier for scientists to access and utilize information effectively.However, relying solely on data management solutions has its limitations. While data management is crucial, AI offers much more than just organizing information. It provides advanced analytics, machine learning capabilities, and predictive modeling that can significantly enhance research outcomes.To seamlessly transition to AI, it is recommended to implement best practices. This includes ensuring that the data being used is accurate, relevant, and of high quality. It is also important to have a well-defined strategy for integrating AI into existing workflows and infrastructure.In other news, pharmaceutical company Intercept has agreed to be bought out by Italian drugmaker Alfasigma after failing to secure FDA approval for its liver drug. This deal comes at an 82% premium to Intercept's closing price but is still significantly lower than the company's previous valuation of over $7 billion. Immunovant has released data showing the potential of its experimental drug for autoimmune diseases, which could lead to further business development decisions for its parent company, Roivant Sciences. Novo Nordisk has partnered with Evotec in a drug discovery pact focused on metabolic diseases. The collaboration aims to turn early academic research into new development programs. Documents have revealed that FDA staff have "major concerns" about the ALS therapy being developed by BrainStorm, raising doubts about the treatment. Cancer research is advancing and changing the pharma and biotech sectors, while obesity drugs like Ozempic and Wegovy could revolutionize treatment for obesity.Moving on to marketing news, Grubhub is expanding its successful marketing campaign featuring Snoop Dogg to the US. This campaign, titled "Did Somebody Say," generated 4 million views in the first three days of its premiere in the UK. Fruit of the Loom is bringing back its fruit mascots to refresh its TikTok strategy and connect with Gen Z consumers. The brand aims to develop a more meaningful connection with this demographic, which came of age during the characters' TV heyday. iSpot.tv, a TV measurement company, has earned its first-ever accreditation from the Media Rating Council (MRC) for its ad occurrence data. This accreditation could be a step towards broader recognition and validation for the company. Paramount and CBS have launched the Sports Creator Studio ahead of Super Bowl LVIII. The studio aims to connect brands with sports influencers and creators for various content strategies.That's all for today's episode of Pharma and Biotech daily. Thank you for tuning in, and don't forget to visit StudioID's website to learn more about their services. Stay tuned for more important news in the Pharma and Biotech world.

This week, we discuss New Relic going private, Dell buying Moogsoft and digital transformation comes to Border Control. Plus, ideas for a last minute family vacation. Watch the YouTube Live Recording of Episode (https://www.youtube.com/watch?v=6M31eD5nVy0) 426 (https://www.youtube.com/watch?v=6M31eD5nVy0) Runner-up Titles The Paris economy is all croissants. The Euphoria of the Buffet All that firing people gave us a soft landing. Is it going to be New Logic, or SumoRelic? You drive a hard bargain, now we're billionaires The tinfoil hat of complexity Just buy more backpacks Here in the United States, we have a lot of banks. Can Americans use it? Bigger numbers are smaller numbers. It's pretty easy to quarantine with Internet. Rundown More Monitoring, More Money Dell Technologies Announces Intent to Acquire Moogsoft (https://www.prnewswire.com/news-releases/dell-technologies-announces-intent-to-acquire-moogsoft-301881557.html) What the New Relic Sale Means for SaaS by @ttunguz (https://www.tomtunguz.com/newr_acquisition/) Exclusive: Francisco Partners, TPG end talks to buy New Relic (https://www.reuters.com/markets/deals/francisco-partners-tpg-end-talks-buy-new-relic-sources-2023-05-26/?utm_source=newsletter&utm_medium=email&utm_campaign=newsletter_axiosprorata&stream=top) Francisco Partners & TPG to take New Relic private in $6 billion all-cash deal (https://www.cnbc.com/2023/07/31/francisco-partners-tpg-to-take-new-relic-private-in-6-billion-deal.html) Inside the $6.5 billion buyout of New Relic (https://www.axios.com/2023/08/01/inside-the-65-billion-buyout-of-new-relic) Government IT Federal Reserve announces that its new system for instant payments, the FedNow® Service, is now live (https://www.federalreserve.gov/newsevents/pressreleases/other20230720a.htm) CBP Goes Paperless with Global Entry (https://www.cbp.gov/newsroom/local-media-release/cbp-goes-paperless-global-entry) Mexico Phasing Out Use of Paper Visitor Permits (FMM) (https://www.mexperience.com/mexico-begins-to-phase-out-paper-versions-of-the-fmm/#:~:text=Mexico%27s%20paper%20FMM%20forms%20being,Mexico%20no%20longer%20use%20them) New requirements coming in 2024 for Americans traveling to Europe (https://abcnews.go.com/GMA/Travel/new-requirements-coming-2024-americans-traveling-europe/story?id=101546203) Passport Palooza (https://markcathcart.com/2023/07/24/passport-palooza/) Relevant to your Interests Broadcom's $61 billion VMware deal wins conditional EU antitrust OK (https://www.reuters.com/markets/deals/broadcom-wins-conditional-eu-antitrust-approval-buy-vmware-2023-07-12/) Broadcom claims VMware's strategy isn't succeeding (https://www.theregister.com/2023/07/14/broadcom_vmware_cma_response/) Moderation actions (https://docs.joinmastodon.org/admin/moderation/) Shopify's anti-meeting crusade is failing and it's taken to shaming employees instead: 'Most of the modern work environment is broken' (https://fortune.com/2023/07/12/remote-work-zoom-meeting-shopify-cost-calculator-modern-work-broken/) Investors and business owners for 3x more likely to invest after reading a GPT-4 pitch deck (https://twitter.com/mrhinkle/status/1670431487621996547?s=20) 3 tax prep firms shared 'extraordinarily sensitive' data about taxpayers with Meta (https://apnews.com/article/irs-taxpayer-tax-preparation-meta-congress-9315cfca7a0942ab89f765d183fbf822) macOS Sonoma lets Chrome use passwords stored in iCloud (https://www.theverge.com/2023/7/13/23793532/apple-icloud-passwords-chrome-extension-mac-sonoma-beta) Passkeys in iOS 17: Watch a sneak peek at what's coming to 1Password for iOS | 1Password (https://blog.1password.com/apple-passkey-api-wwdc/?utm_medium=email&utm_source=beyond-passwords-newsletter-july&utm_campaign=passwordless&utm_ref=email-beyond-passwords-newsletter-july) Former Amazon Web Services data center leader Chris Vonderhaar joins Google Cloud (https://www.geekwire.com/2023/former-amazon-web-services-data-center-leader-chris-vonderhaar-joins-google-cloud/) AlmaLinux OS - Forever-Free Enterprise-Grade Operating System (https://almalinux.org/blog/future-of-almalinux/) Amazon Shares Jump 2% After Reporting Record Prime Day Sales (https://www.bloomberg.com/news/articles/2023-07-13/amazon-shares-jump-2-after-reporting-record-prime-day-sales) Threads Is About to Make All the Money That Twitter Isn't (https://slate.com/technology/2023/07/meta-threads-advertising-twitter-musk-zuckerberg.html) Mark Zuckerberg (@zuck) on Threads (https://www.threads.net/t/Cu0BgHESnwF/?igshid=MzRlODBiNWFlZA==) Jamin Ball (@jaminball) on Threads (https://www.threads.net/t/Cu3WuVGsWgy/?igshid=MzRlODBiNWFlZA==) Introducing NotebookLM (https://blog.google/technology/ai/notebooklm-google-ai/) Ford CEO explains why legacy car manufacturers cannot compete with Tesla in software (https://www.linkedin.com/feed/update/urn:li:activity:7084904611349757952?utm_source=share&utm_medium=member_desktop> linkedin.comlinkedin.com) Cloudflare as an AI play. An interview with CEO Matthew Prince. (https://redmonk.com/jgovernor/2023/07/17/cloudflare-as-an-ai-play-an-interview-with-ceo-matthew-prince/) This is huge: Llama-v2 is open source, with a license that authorizes commercial use! (http://ttps://twitter.com/ylecun/status/1681336284453781505?s=20) The Rise Of DIY In FinOps (https://www.forrester.com/blogs/the-rise-of-diy-in-finops/) Announcing Akita Has Joined Postman — Akita Software (https://www.akitasoftware.com/blog-posts/announcing-akita-has-joined-postman) Announcing the New Lightweight Postman API Client | Postman Blog (https://blog.postman.com/announcing-new-lightweight-postman-api-client/#:~:text=Starting%20May%2015%2C%202023%2C%20Scratch,calls%20through%20the%20Postman%20UI.) Does ‘Buy American' Policy Make Sense? The Answer Is Key for Your AI Portfolio Too (https://www.wsj.com/articles/does-buy-american-policy-make-sense-the-answer-is-key-for-your-ai-portfolio-too-562825af?st=zwct83dpy1hrssv) AlmaLinux says Red Hat source changes won't kill its RHEL-compatible distro (https://arstechnica.com/information-technology/2023/07/almalinux-says-red-hat-source-changes-wont-kill-its-rhel-compatible-distro/) Twitter becomes X (https://www.platformer.news/p/twitter-becomes-x?utm_source=substack&utm_medium=email) The problem with X? Meta, Microsoft, hundreds more own trademarks to new Twitter name (https://www.reuters.com/technology/problem-with-x-meta-microsoft-hundreds-more-own-trademarks-new-twitter-name-2023-07-25/) Meta Profit Is Up 16% to $7.8 Billion in Recent Quarter (https://www.nytimes.com/2023/07/26/technology/meta-earnings-second-quarter.html?smid=nytcore-ios-share&referringSource=articleShare) Top Announcements of the AWS Summit in New York, 2023 | Amazon Web Services (https://aws.amazon.com/blogs/aws/top-announcements-of-the-aws-summit-in-new-york-2023/?trk=d73defd9-9fc4-45cf-99f9-433b69146fbb&sc_channel=el) AWS Easily Beats Microsoft In $120B IaaS Cloud Market: Gartner (https://www.crn.com/news/cloud/aws-easily-beats-microsoft-in-120b-iaas-cloud-market-gartner) Russia Takes Its Ukraine Information War Into Video Games (https://www.nytimes.com/2023/07/30/technology/russia-propaganda-video-games.html) Breaking: AWS Begins Charging For Public IPv4 Addresses (https://www.lastweekinaws.com/blog/breaking-aws-begins-charging-for-public-ipv4-addresses/) The massive bug at the heart of the npm ecosystem (https://blog.vlt.sh/blog/the-massive-hole-in-the-npm-ecosystem) Tech Moves: Ex-Microsoft president joins Google Cloud as VP; iSpot hires research chief; and more (https://www.geekwire.com/2023/tech-moves-ex-microsoft-president-joins-google-cloud-as-vp-ispot-hires-research-chief-and-more/) A Day in the Life of a Senior Manager at Amazon (https://newsletter.pragmaticengineer.com/p/a-day-in-the-life-of-a-senior-manager) 7 generative AI innovations from AWS Summit New York 2023 (https://www.aboutamazon.com/news/aws/aws-summit-new-york-generative-ai) TikTok is adding text posts (https://www.theverge.com/2023/7/24/23805530/tiktok-text-posts-micro-blogging-twitter-threads) Prime Day 2023 Powered by AWS – All the Numbers (https://aws.amazon.com/blogs/aws/prime-day-2023-powered-by-aws-all-the-numbers/) AWS Launches Infrastructure Region in Israel (https://press.aboutamazon.com/2023/8/aws-launches-infrastructure-region-in-israel) AMD revenue falls 18% as PC market shows continued weakness (https://www.cnbc.com/2023/08/01/amd-earnings-report-q2-2023.html) From Docker to Dagger with Solomon Hykes (Changelog Interviews #550) (https://changelog.com/podcast/550) A New IT Automation Project? Moving Beyond Ansible And Keeping The Spirit (https://laserllama.substack.com/p/a-new-it-automation-project-moving) Google Docs can now automatically add line numbers (https://www.theverge.com/2023/7/24/23805822/google-docs-line-numbers-support) Q2 2023 is the largest quarter ever in the number of startup closures. (https://twitter.com/mahaniok/status/1682375196764717056) VCs Face an Existential Threat: There Are Too Many of Them (https://www.vice.com/en/article/4a3az9/venture-capital-vcs-existential-too-many) VC firm says their companies are good/leading, and you should invest in them too (https://twitter.com/Machiz/status/1680975185808171008) Nonsense FIGHTING (https://open.substack.com/pub/pmarca/p/fighting?r=2d4o&utm_medium=ios&utm_campaign=post) The Best Buy It for Life Backpack (Please Don't Call It Tactical) (Published 2020) (https://www.nytimes.com/wirecutter/reviews/buy-for-life-backpack/) Convicted felon gets DC contract to install car battery tech called impossible by experts (https://www.wusa9.com/article/news/investigations/lawrence-hardge-dc-battery-rejuvenation-contract/65-93a48463-e2fd-43e4-9a1b-9f727036ce0c) Americans spark backlash after claiming that Europeans ‘don't believe in water' (https://www.independent.co.uk/life-style/europe-travel-americans-water-bottles-b2377078.html) The Spongmonkeys, Fast Food's Most Unhinged Mascots, Are Back (https://www.eater.com/23797910/quiznos-spongmonkeys-unhinged-mascots-are-back) Here's why Elon Musk's rebranding of Twitter to 'X' is good, actually (https://techcrunch.com/2023/07/24/heres-why-elon-musks-rebranding-of-twitter-to-x-is-good-actually/) The First Room-Temperature Ambient-Pressure Superconductor (https://arxiv.org/abs/2307.12008) Conferences August 8th Kubernetes Community Day Australia (https://community.cncf.io/events/details/cncf-kcd-australia-presents-kubernetes-community-day-australia-2023/) in Sydney, Matt attending. August 21st to 24th SpringOne (https://springone.io/) & VMware Explore US (https://www.vmware.com/explore/us.html), in Las Vegas. Explore EU CFP is open. Sep 6th to 7th DevOpsDays Des Moines (https://devopsdays.org/events/2023-des-moines/welcome/), Coté speaking. Sep 18th to 19th SHIFT (https://shift.infobip.com/) in Zadar, Coté speaking. October 2-6, 2023, QCon San Francisco (https://qconsf.com/workshop/oct2023/open-source-kubernetes-cloud-cost-monitoring-opencost), Matt's doing a workshop October 6, 2023, KCD Texas 2023 (https://community.cncf.io/events/details/cncf-kcd-texas-presents-kcd-texas-2023/), CFP Closes: August 30, 2023 November 6-9, 2023, KubeCon NA (https://events.linuxfoundation.org/kubecon-cloudnativecon-north-america/), SDT's a sponsor Jan 29, 2024 to Feb 1, 2024 That Conference Texas CFP Open 6/1 - 8/21 (https://that.us/call-for-counselors/tx/2024/) If you want your conference mentioned, let's talk media sponsorships. SDT news & hype Join us in Slack (http://www.softwaredefinedtalk.com/slack). Get a SDT Sticker! Send your postal address to stickers@softwaredefinedtalk.com (mailto:stickers@softwaredefinedtalk.com) and we will send you free laptop stickers! Follow us: Twitch (https://www.twitch.tv/sdtpodcast), Twitter (https://twitter.com/softwaredeftalk), Instagram (https://www.instagram.com/softwaredefinedtalk/), Mastodon (https://hachyderm.io/@softwaredefinedtalk), BlueSky (https://bsky.app/profile/softwaredefinedtalk.com), LinkedIn (https://www.linkedin.com/company/software-defined-talk/), TikTok (https://www.tiktok.com/@softwaredefinedtalk), Threads (https://www.threads.net/@softwaredefinedtalk) and YouTube (https://www.youtube.com/channel/UCi3OJPV6h9tp-hbsGBLGsDQ/featured). Use the code SDT to get $20 off Coté's book, Digital WTF (https://leanpub.com/digitalwtf/c/sdt), so $5 total. Become a sponsor of Software Defined Talk (https://www.softwaredefinedtalk.com/ads)! Recommendations Brandon: Full Circle (https://www.rottentomatoes.com/tv/full_circle_2023/s01) Matt: Amtrak Pacific Surfliner (https://www.amtrak.com/pacific-surfliner-train). Coté: A Waiter in Paris: Adventures in the Dark Heart of the City (https://amzn.to/47eBRws). Coté's Newsletter (https://cote.io/newsletter/) Photo Credits Header (https://unsplash.com/photos/ELf8M_YWRTY) Artwork (https://unsplash.com/photos/IOffoLkBmig)

Scott Swanson, VP of Demand Generation at iSpot.tv, outlines his experiences from submarines to SEO. Military service can offer a valuable foundation of skills, experience, and connections that can be applied to the business world. While it's not a guarantee of success, many individuals, like Scott, have been able to leverage their military background to build thriving careers. Today, Scott discusses military lessons in search. Show NotesConnect With: Scott Swanson: Website // LinkedInThe Voices of Search Podcast: Email // LinkedIn // TwitterBenjamin Shapiro: Website // LinkedIn // TwitterSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Scott Swanson, VP of Demand Generation at iSpot.tv, talks about how to create hypergrowth at an already successful SaaS business, iSpot.tv, through search. Achieving hypergrowth for successful SaaS businesses through search is challenging, especially against major players like YouTube. However, iSpot.tv has managed to do that by maintaining a relentless focus on the user experience. Today, Scott discusses how to create hypergrowth at an already successful SaaS business through search. Show NotesConnect With: Scott Swanson: Website // LinkedInThe Voices of Search Podcast: Email // LinkedIn // TwitterBenjamin Shapiro: Website // LinkedIn // TwitterSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This week we highlight some of the layoffs across the industry (Vimeo, Amazon, Kaltura, Amdocs, JWP) and why getting to positive cash flow for vendors is and should be the number one goal in 2023. We also detail the latest ARPU numbers from OTT services and some TV news from CES, with Roku announcing the first-ever smart TV designed and built by Roku and a still unnamed partner. Finally, we discuss the extremely fragmented landscape for video advertising metrics, the news of Nielsen ONE and how every major media company has struck deals with measurement firms like VideoAmp, EDO, Comscore, and iSpot to replace or supplement Nielsen. Companies and services mentioned: Vimeo, Kaltura, JPW, Amazon, Netflix, Disney, Nielsen, Videoamp, Amdocs, Transmit Live, Warner Bros. Discovery, Roku, Samsung, Google TV, EDO, Comscore, iSpot.Questions or feedback? Contact: dan@danrayburn.com

Known for the Season of Giving—the holidays provide an opportunity to celebrate the year and show appreciation for those around us. In this season of giving, we spend time with loved ones, shopping for that perfect gift, and taking time for gratitude during the season. On the heels of Black Friday—one of the busiest shopping days of the year comes Giving Tuesday—an opportunity for people worldwide to unite to thank, help, give, show kindness, and share what they have with those in need. Giving Tuesday, held on November 29th, 2022, is a global generosity movement—that unleashes the power of radical generosity to transform communities and the world. Created in 2012, this day encourages people to do good—and has done just that for ten years! There are many ways to share your generosity on this day—and the Girls with Grafts team shares a few of the ways to do that with Phoenix Society for Burn Survivors. Even in this time of economic uncertainty, we each have a deep reserve of generosity, which can be deployed in various ways on this special day, you can read a few in our resources below. In addition to discussing Giving Tuesday, Girls with Grafts joins together for a special episode sharing their personal experiences with their burn injuries while highlighting the work they do daily as Phoenix Society for Burn Survivors' Marketing team. To donate to Phoenix Society for Burn Survivors & Girls with Grafts this Giving Tuesday, click here. There are many ways to support Phoenix Society for Burn Survivors this Giving Tuesday—but for those that choose to give a monetary donation, we invite you to read the information below. Your gift of $50 can provide personalized wellness services and support for two burn survivors through Phoenix Society's information and referral programs, reaching an average of 1,800 survivors every year. With your gift of $100, you can provide 30 patients with a copy of Journey Magazine, a free publication for the burn community provided to more than 75 hospitals with resources, stories, and updates directly delivered three times/year. Your gift of $250 can support one hour of Virtual Support Group. Virtual Support Group is a vital connection for burn survivors and loved ones located anywhere in the world. Every donation of $25 or more given between November 23, 2022 - November 30, 2022, will receive a 10% off coupon to Phoenix Society's online store. Resources from the Show Donate to Phoenix Society for Burn Survivors on Giving TuesdayDownload the Latest Edition of Journey MagazineJoin us for the last Phoenix: Engage Session —Keep It Real ™ Leadership Development Workshop November 30 at 11 am ESTDownload the Phoenix Society for Burn Survivors State of the (Burn) Survivor ReportSign the Petition for the Verizon Wireless & iSpot tv's Disturbing Christmas Tree Fire Video AdvertisementRead About Our Efforts for the Passage of Bill HB2417Participate in a Research StudyRate, Subscribe, and Review Phoenix Society's Girls with Grafts PodcastPhoenix Society's BlogView Our ResourcesPurchase Your Phoenix Society for Burn Survivors SwagLearn More About Phoenix World Burn CongressJoin Our Online Facebook Community Join our Monday Evening Virtual Support GroupParticipate in our Wednesday Evening Online Peer Support ChatsBecome a SOAR Peer Supporter or Inquire About Our Hospital ProgramOur Sponsor A special thank you to our Season One Sponsor, Pritzker Hageman. The Pritzker Hageman burn injury legal team helps burn survivors, and their loved ones pursue compensation and justice throughout the United States. If you have legal questions, the attorneys at Pritzker Hageman are ready to help. Find out more at LegalJourney.guide.  

In der Rubrik “Investments & Exits” begrüßen wir heute Daniel Wild, Gründer und Aufsichtsrat von Mountain Alliance. Daniel spricht über die Runde von TVision und JUCR.Das New Yorker Unternehmen TVision, welches das Anschauen von TV-Inhalten und Werbung analysiert und misst, hat in einer Finanzierungsrunde 16 Millionen US-Dollar erhalten. Die Runde wird vom Branchenkollegen iSpot.tv aus Seattle angeführt. Als Teil der Investition wird iSpot erweiterte Lizenzbedingungen erhalten und iSpot-Spot CEO Sean Muller wird auch dem Vorstand beitreten. Erst im April erhielt iSpot eine 325 Millionen US-Dollar Investitionen und bringt dem Unternehmen vermutlich einen Unicorn-Status. Zu den weiteren Teilnehmern an der Finanzierungsrunde gehören SIG Capital, Accomplice und Golden Ventures.Das Berliner E-Mobilitäts-Startup JUCR hat 31,2 Millionen Euro eingesammelt. Es bietet eine End-to-End-Lösung für das Laden von Elektrofahrzeugen an. JUCR bringt beispielsweise eigene Ladestationen mit einem selbst entwickelten Ladeprotokoll auf den Markt und beginnt mit dem Aufbau einer eigenen Ladeinfrastruktur. Das Ziel ist dabei, bis 2025 ein eigenes europaweites Ladenetz mit mehr als 100.000 Ladepunkten aufzubauen. Das frische Kapital setzt sich aus einer Seed-Finanzierungsrunde in Höhe von 6,2 Millionen Euro und 25 Millionen Euro Fremdkapital zusammen. An der Seed-Runde haben sich Vector Venture Capital und die Bestandsinvestoren 2bX sowie der German Media Pool beteiligt.

Jeśli szukacie pomysłów na uważne, piękne i niezapomniane świąteczne prezenty - to jest odcinek dla Was. Zrobiłam moją osobistą selekcję marek i produktów z przeróżnych kategorii. Przefiltrowałam je przez swoje wartości, zadbałam o to, by były jak najwyższej jakosci, najchetniej polskie, dobre dla planety, estetyczne i oczywiście funkcjonalne. Mam nadzieję, że te kilkadziesiąt minut będzie dla Was inspirujące. Zapraszam:) Partnerem odcinka jest Health Labs Care, producent suplementów diety i kosmetyków stworzonych z myślą o potrzebach nowoczesnych kobiet. / Reklama Posłuchaj Prezentownika z 2021: https://spoti.fi/3TjlUgk Lista produktów omawianych w odcinku. KATEGORIA: JEDZENIE / SUPLEMENTY 1/ OLINI | Pyszne oleje, zakwasy, octy, masła orzechowe. Kod rabatowy: “KaroPrezent”, 10% zniżki + darmowa dostawa, działa od 16/11 do 16/12/22. https://bit.ly/olejarniaolini 2/ HEALTH LABS CARE / Najlepsze suplementy / Reklama. Kod rabatowy: “Karolina10”, 10% zniżki na cały asortyment, działa bezterminowo. https://bit.ly/hlcaresuple KATEGORIA: KOSMETYKI 3/ IOSSI | Pielęgnacji twarzy. Kod rabatowy: “Prezentownik”, 15% zniżki na cały asortyment, działa od 16/11 do 16/12/22. https://bit.ly/iossitwarz 4/ HAGI | Pielęgnacja ciała. Kod rabatowy: “karolina20”, 20% zniżki na cały asortyment, działa od 16/11 do 31/12/2022. https://bit.ly/hagicialo KATEGORIA: DO DOMU 5/ KLAUDYNA HEBDA | Olejki eteryczne i rollony. Kod rabatowy: “Karolinasobanska10”, 10% zniżki na cały asortyment, działa od 16/11 do 16/12/22 i nie łączy się z innymi promocjami. Kod rabatowy: “Karolinasobanska5”, dodatkowe 5% zniżki na produkty już w promocji, działa od 16/11 do 16/12/22 https://bit.ly/klaudynaolejki 6/ PLANTULE / Zestaw na zatoki. Kod rabatowy: “Karolina15”, 15% zniżki na cały asortyment (poza outletem i kolekcjami specjalnymi), działa od 16/11 do 16/12/22. https://bit.ly/plantulehebda / DYFUZORY Muji / https://bit.ly/mujidyf iSpot / https://bit.ly/ispotdyf Biolavit / https://bit.ly/biolavitdyf / ŚWIECE SWOYE / naturalne świece. Kod: “karolinaswoye”, 10% zniżki na całe zamówienie przy zakupach za min. 80 zł, działa od 16/11 do 16/12/22 https://bit.ly/swoyeswieczki * JASKÓŁKA / ekologiczne świece sojowe. Kod rabatowy: “prezentownik”, 10% zniżki na świece sojowe, działa od 16/11 do 16/12/22. https://bit.ly/sojoweswiece / PURNAMA RITUALS / Lampa solna. https://bit.ly/lampaodbebe / BRANIK / Kamienne świeczniki i podstawki. Kod: “prezentownik”, zniżka 15%, działa od 16/11 do 16/12/22. https://bit.ly/branikmarmur / DESA HOME / Produkty vintage. https://bit.ly/vitageoddesa / COFFEEDESK / Zaparzacz do herbaty. Kod rabatowy: https://bit.ly/zaparzaczecd / WYWOŁANIE ZDJĘĆ + PAPER GOODS / piękne polskie albumy. Kod: “ELF23”, 10% zniżki na cały asortyment, działa od 16/11 do 16/12/22. https://bit.ly/albumypg * PAPER PROJECT / pudełka na zdjęcia. Kod: “aleMiło!”, 15% zniżki na cały asortyment, działa od 16/11 do 23/12/22. https://bit.ly/pudelkanazdjecia SONOS / przenośne głośniki. Kod: https://bit.ly/glosnikis KATEGORIA: WSPÓLNY CZAS MYŚLNIKI / przemyślniki. Kod: "prezentownik15", 15% zniżki za przemyślniki, działa od 16/11 do 16/12/22. https://bit.ly/myslniki * TABLE TALK / Let's get closer, karty. https://bit.ly/tabletalkshop * FIGLE / Puzzle. Kod: “KAROLINA20”, 20% zniżki na wszystkie puzzle, działa od 15/11 do 31/12/22. https://bit.ly/figglepuzzle KATEGORIA: OSOBISTE 20/ DRUGI SPLOT / Zimowe dodatki. Kod: “SOBANSKA10”, 10% rabatu, działa od 16/11 do 16/12/22 https://bit.ly/dodatkinamroz GALILU / Miniatury perfum. Kod: Np. https://bit.ly/galiluset PAPIERNICZENI / Wyjątkowe planery i kalendarze. Kod: “PREZENTOWNIK15”, 15% rabatu na całą ofertę, działa od 16/11 do 16/12/22 https://bit.ly/unikalneplanery KATEGORIA: DLA ZWIERZAKÓW THIS IS BERTY / Kosmetyki i gadżety. Kod: “KAROLINA15”, -15% zniżki na całą ofertę, promocje nie łączą się, działa od 16/11 do 16/12/22 https://bit.ly/thisisbertyhit * SOIL / Personalizowana ceramika. Kod: “KAROLINA”, 10% zniżki na stałe kolekcje, działa od 16/11 do 16/12/22 https://bit.ly/soilceramika KATEGORIA: DLA AKTYWNYCH LESOVIK / Poręczny hamak. Kod: “PREZENTOWNIK15”, 15% zniżki na cały asortyment, działa od 16/11 do 16/12/22 https://bit.ly/lesovikk HYDROFLASK / Termos na jedzenie. Kod pod tym linkiem https://bit.ly/kodrabatowypanpablo - na całą kategorię termosy, kubki, pojemniki, butelki, a rabat wynosi -15%, działa od 16/11 do 16/12/22 MARGA / Turystyczna mata do jogi. Kod: "PREZENTOWNIK", 15% zniżki na maty, działa od 16/11 do 19/12/22. https://bit.ly/margacollab I LOVE GRAIN / Opaska zaciemniająca. Kod: “KAROLINA20”, 20% zniżki na cały asortyment, promocje nie łączą się, działa od 16/11 do 16/12/22 włącznie. https://bit.ly/ilovegrain __ Bądź na bieżąco śledząc moje kanały: Instagram: https://bit.ly/IGkarolinasobanska Youtube: https://bit.ly/YTKarolinaSobanska Spotify: https://spoti.fi/3xax13z

Dr. Mosolygó Péter máriapócsi kegyhelyigazgató atya és Pindzsu István atya, a pócsi zarándokház igazgatója a közelmúltban a Szent Lázár Katonai és Ispotályos Lovagrend tagja lett. A lovagrendről és abban betöltött feladatukról P. Tóth Nóra kérdezte a görögkatolikus papokat.

Casting is global, digital, and massive. This week, Anne & Lau lead Bosses through the complicated world of casting. Resiliency & timing are key for booking that dream gig. Lau teaches us that not all rejections mean no. They often mean not right now. Anne shows us that we are every aspect of our business and that marketing well enough to get in front of voice seekers is part of your job, whether you like it or not! If you're feeling overwhelmed and defeated during the casting process, tune in for some (super) powerful advice… Transcript >> It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza. Anne: Hey everyone. Welcome to the VO BOSS podcast. I'm your host Anne Ganguzza, and I'm excited to bring back to the show special guest co-host Lau Lapides and Business Superpowers. Yay. Hey Lau. How's it going today? Lau: Awesome, Anne. So good to be with you. Love being with you. Anne: I'm so excited for this new series and actually, because you do a lot of casting, and I also do casting as well. I thought it would be a great episode to talk about casting because casting over the years, I'm sure, has evolved and changed. And a lot of times my students wanna know, well, what does it take to get in front of a casting director and impress them so that they get hired? Lau: Sure, it's a biggie. Anne: Who better to ask, Lau than someone that's been doing it for many, many years. Right? So let's talk about like, how has casting changed over the years? Lau: Mm that's a loaded question. I love the theme. I have to tell you, I love the superpower theme because innately, I think for actors, voice actors, there's this feeling of helplessness, of powerlessness, of waiting for a job or waiting for someone to like me. Right? You know, what did I do wrong? Why didn't they cast me? Why didn't they like me? And I love the theme of this show that you chose, because it's all about finding your inner power. Like what ignites us, what empowers us when we get to the casting, when we get to the agency, when we get to the hiring power, hiring people, how do we ignite our own power inside of us? So I love that. I love that. Okay. So it's a hard question to answer in the sense that it's so unique to each person. Every individual is a very, very unique experience throughout their performance life. But you know, I can give you a few tips along the way, in terms of, let's say you're starting out and you're early to market, and you're coming in, you're saying, huh, how do I get people knowing my name and hearing my voice? Well, for casting, I'll tell you one of the things that we're always looking for are people that are submitting a lot. They're really marketing themselves well, and they're submitting a lot, and they're unafraid to submit and resubmit because I think it's a truism in the industry that you're not gonna book the first job. You may not even book the second or third job or the 50th job. So what do we do? We have to have that tenacity, that inner power within us to say, it's okay. I can submit until the cows come home. And maybe, maybe they just don't need my value right now. So I'm not looking at this as a rejection. I'm looking at this as not a no, but a not now. Anne: Right? I love that. You know what, you're the first person that I've ever heard say that, the tenacity, submit, submit, submit, because I think for a lot of talent, they get discouraged, right? They're either like, oh my gosh, I've submitted. I haven't booked anything. And then they get down on themselves. And you're the first casting director that I've heard actually say be tenacious, submit, submit, submit. And actually, you know, I totally agree, because I feel like your name will become known as well to the casting directors. And at some point, I would imagine if you're continually submitting, either at some point, somebody's going to stop and give you feedback, if they feel it's necessary. And also it's just kind of a way to keep yourself top of mind, which is like any good marketing, is to keep yourself top of mind with a casting director. So I wanted to stop and say, thank you for saying that, because I'm sure that you just gave these BOSSes a whole lot more reason to just continue on, and be positive, and just submit, submit. So thank you for that. Love it. Yeah. Lau: Of course. That was my pleasure. And BOSSes listening in, I'm telling you, there are not enough places in the world and your lifetime isn't long enough to submit to every place you could be submitting to. So it's not about waiting for 5, 10, 15, 20 sources. It's about pasting. Like it's global, we're in a global industry now. You wanna cover the globe. So you don't wanna go from local. You don't wanna do regional. You don't even wanna keep it national. You wanna go international. So you wanna think about as you work with your coaches, as you work with your trainers, as you work with Anne, you wanna think about, boy, here's where I am in this market, but how am I viewed in that market? And then how am I viewed in this market? And it becomes an endless journey of how can I get in front of casting and representation that can represent me for that particular genre and that particular brand, which may change, which very well may change. Anne: Now, let me play devil's advocate here from the voice talent perspective and say, how do I find different casting directors that cast in different genres or different places? Is that something that's easily researched? Lau: Well, yes and no. In the sense that nothing is easy But everything's at our fingertips now. Anne: Right, right. Lau: We know this, everything is at our fingertips. So what you need, and I'm like preaching to the choir on this one, but what the BOSSes need is they need a great time management schedule. They need to be honest about what are they committing? I always say what you put in is what you're going to get out of it for your career. Am I putting in an hour, a day, am I putting in 15 hours a day? I'm most likely gonna get more out of it if I'm putting in more time. And the time needs to be very focused time, very incisive time. I need to know exactly, like how does an actor think I need to have purpose. I need to have an objective. I can't just generically go in and hope for work. I have to really, really target in. So let's say, say, I'm looking for casting directors. I know, based on my studio, I know one of the ways you can be seen live and virtually, virtually and live is to do showcases. And showcases are a fascinating event. We produce them and a lot of others produce them as well. And you get to go live in person, whether you're walking into a room or whether you're walking into a Zoom room, you get to meet people. There's nothing better than being in front of a casting director or an agent or a producer and saying, hi, I'm live. This is who I am. This is what I do. I'm gonna do it for you right now. This is a great option to get in front of as many casting people and reps, if you're looking for reps, as possible. A lot of people are afraid of it and they shouldn't be. Anne: Well, and I'm gonna just kind of plug my VO Peeps group. I mean, we do have workouts with casting directors and talent agents. And if you are afraid thinking that you're not ready to be seen or to be showcased, do the work to get yourself performance-wise where you feel confident. Because it's never a guarantee if you're performing in front of a casting director. And I always have to say that. Like, there is no guarantee you'll get work if you come to my workshop that is hosted by me and I have a talent agent or a casting director, but what a great opportunity to kind of showcase your talents. And so again, there's never any guarantee that you'll get work, but it's an opportunity for you to get in front of these people live in a Zoom room for the VO Peeps cases anyways, and then live also with -- Lau has showcases. And I know there's other casting directors as well that do those showcases, and that's a great opportunity to get seen and heard. Lau: It is. And it also will satisfy you. Like if you're doing the Peeps, you're doing the workout, it satisfies that live actor forum in you, where you wanna get some feedback. You wanna meet someone, you wanna talk about what you do. You wanna have the interaction of the room. I mean, that's something we just can't get alone in our studio or alone in our booth. We just can't capture it the way we can live. So I, I do think that's one, really important way where you're in a, either a workout or a casting workshop or a showcase, whatever that is. I would put that right into your time management. I also would work with either Anne, your coach, your trainer to really get together the marketing list you wanna get together of casting directors and of agencies that you can be target marketing. I think that's very important and a lot of talent miss that. I think gone are the days of opening up the phone book. We don't really use the phone book that often anymore. Anne: Well, wait, but wait, the Voiceover Resource Guide is coming back. I have to just do a plug for that because if you -- do you remember -- you've been casting direct for a while. You remember the Voiceover Resource Guide, the printed book? Lau: Yes. Anne: That used to be the only thing that basically gave you information for area coaches, area studios and casting directors, and that is making a comeback. And so it, it is in print and also online. So that's a great resource, and BOSSes, I'll be put in that link in our show notes and also any resources, Lau, that are online that you can share with BOSSes, I'll put that as well in the show notes. So you guys can check that out, but continue on Lau about how talent can get in front of first of all, find them, get in front of, and then how can we make a good impression? Like I think that's really what everybody wants to know. Lau: It is. It is, it is. And, and one more I wanna throw in the mix, Anne, and that is, I want you -- not you I want everyone listening in to think about every person that you meet or get in front of or have email contact with is a prospect. So they are a potential casting director. Anne: Yeah. Lau: They don't call themselves that that's not their title and they wouldn't even know what it is if you ask them, but they're the hiring person. They're the decision maker. They're the person who maybe owns their own business and needs vocal talent, doesn't know that they need them. So as you have your business, you have to think, wow, I am gonna look at my suspects and I'm gonna prospect them. And how do I prospect them? I'm gonna go after every organization, every group that I possibly can, that fits my interest of where my voice is. So for instance, I may go after the women's groups. There's a lot of professional women's groups out there that are wonderful, that would love to know, women and men, that would love to know your voices there, to promote their companies, to promote their products and services, to promote their organizations. A lot of them don't even have voiceovers to do that, right? Why not hit them up? They could be your casting director. What about your local chamber of commerce? What about your BNIs? Right? All of those, those are international professional clubs that you can go into and be in front of 10, 20, 50, 100 people at a time that are great prospects for you to then create what I call the rapport before the relationship. The two R's you have to remember when you're trying to get in front of anyone who's doing casting or hiring is, hey, I have to connect with you. I have to have some sort of authentic connection that you're interested in me and I'm interested in you. And then we have to build a relationship together over time. So it's really working in that sphere of understanding that casting is now global. It's now massive. And yes, you have casting directors proper in each city, in each state, but then you have all these businesses that may very well hire you once they know that you're there. Anne: Sure, sure, sure. And you know, I love that you've brought the term casting agent global now. It's really anybody that has a need for your services and that can hire you. And yes, there are traditional casting agents title only that belong to in studios typically. Right? And their job is to cast voice talent all day. And I like that you created a global job for anybody that hires you for your voice. And that's very true. The one thing I think that, BOSSes, you need to take into consideration is the amount of education necessary to connect and find the need for the job. Right? Because a lot of times we're auditioning, we're auditioning, we're auditioning. We're not getting any feedback. We're not getting any gigs. And we turn it all on our own performance. And I speak on this all the time, because I know that mentality. I have many students that talk about it all the time, and they're like, I don't think I belong in this industry anymore because I'm not getting any work. A lot of time, that work depends on the market. It depends on if there is a need at the time for your voice. And that is something that I think we forget as voice talent. We forget that a lot of it is timing based, right? A company may absolutely love your voice for their product, but if they don't have a campaign or they don't have something ready yet to release, they can't hire somebody. And so you just may be like, I'm submitting, submitting, submitting. And maybe just at that point, right, you might be marketing to them, they just don't need your voice yet. And that's when you're doing that kind of marketing and people are like, well, nobody's responding to me. I'm not getting any feedback to my marketing. Well, that may just be a timing issue. That's all it is. So don't always go to the place where, oh no, they didn't like my voice. Lau: Yeah, absolutely. I think, you know, it's a business where we have to personalize everything but we can't take anything personal. Anne: Yes, absolutely. Lau: We just have to understand the difference between personalizing your work and me, Lau, feeling like you hit me, you hit me. Well, I have to be careful of that because then I'll be hit all day long, and it won't be about my value. It'll be about me personally, as you gotta keep it to your value. And I do think, Anne, that there's two factors as I look at the years and years of working with talent and connecting them and auditioning them and all that, two very big areas that are common that are the obstacles, the walls that people have a tough time getting through; identified them as focus and fear. Those are typically the two game stoppers for you that I'm scared. I'm terrified. I don't wanna be rejected. I don't know what I'm doing. I'm not good enough. That's the fear factor. And then the focus of like, okay, do I understand my schedule? Do I know what I can authentically commit? Am I really putting in the time and energy I need to, to get the ROI that I'm looking for? And oftentimes folks are not doing it. If they're gonna be really honest and transparent, they're not putting in the time and effort that an entrepreneur that owns their own business really needs to put in, right? Anne: So are you talking now? Are they not doing enough auditions or are they not doing enough work to prepare their performance so that they can get hired or both? Lau: It could be all of the above. When we started the conversation, we were talking about casting. And so for looking at finding and prospecting my own casting opportunities, well, how do I do that? I have to put X amount of time into my work week in order to do that. And there was one more I wanted to hit too, Anne, and that was getting my lists together. And if you're connected to great people like Anne, who may be able to help you with, who are the casting directors, and the casting departments, and the agencies proper in the nation that you can then be going, okay, I gotta send, send, send, send, send, I'm gonna Google. I'm gonna get online. I'm gonna look at doing all of that. And it is a lot of work. It's a lot of work. Anne: It is, it is. Lau: But it's work we have to do in marketing efforts to understand who is hiring, who is submitting, and who is gone now because after COVID, a lot of businesses unfortunately went down or merged and changed. Anne: Yeah. And one thing I wanna point out BOSSes is that we have had a couple of different episodes on email marketing and just make sure if you are submitting or sending information out that you're abiding by rules and regulations so that you're not considered as spamming. And so be careful with that. It's one of the reasons -- and shameless plug, one of the reasons that I created the VO BOSS Blast is that we can market to a list that has already given us permission of casting directors and production companies that have said, yes, it's okay for us to market to. So that is something you guys can take a look at as well as doing your own research. And then it becomes a marketing challenge, right? How are you going to get in front of these people? And again, then it becomes that timing issue. But as Lau stated, you really do have to put in the effort. And I know how many people, they got into this industry thinking it's gonna be all fun and performance in the studio. Well, believe it or not, a lot of the time really isn't until you get that job, right? You've got to get the job. And then once you've got the job, you can't anticipate that that job will be there forever. You have to continually mine for new prospects and getting in front of new people that can cast you and hire you. So Lau, are there differences over the years in terms of what people are looking for today versus maybe 20 years ago? Let's talk about the difference in the types of voices they're looking for. Lau: Yeah. Well, there's been, I know, you know, this Anna huge swing in diversity casting and rightly so. Anne: Absolutely. Lau: That's been a long time coming. And so we've seen that both on camera and voiceover. Anne: Yeah. And I'm so thankful for that honestly. It's just really brought, I mean, these past years, and it's not to where we need it yet, but I'll tell you what. I've really been enjoying hearing and watching and seeing all the diversity. It's just been amazing. And I just wanted to keep continuing, so. Lau: Absolutely. I'm right there with you and it's been happening now -- Anne: It's been wonderful. Lau: -- solidly -- yeah -- for about three years or so, maybe a little bit longer, which is exciting. And now we have to look at, okay, vocal actors, if you're not in that diversity casting pool, that's okay. You have your value and now you have to do the work to say, how do I prospect the right clients, the right customers, the right casting who's going to be interested in what I'm doing and what my sound is? And, you know, be honest, like, are you a proactive person or are you more of a reactive person? And both are just fine. But one of the common denominators of successful entrepreneurs is that they're proactive, in that we're willing to go out and take action and take a lot of action and do it consistently for a long time, whether we get a return on it or not. I mean, that's just kind of the reality. We can't always depend on someone else doing it for us, and we can't always allow someone else to do it for us. There are certain things we just have to take agency of. Anne: Yeah, absolutely. Lau: Right? And our career, our career, our business, VO BOSS, the name of what we do, the branding is ours. And we have to take 100% commitment in that. Anne: Yeah. And you are the marketing department, , you know, you are the accounting department. You are the performance department. You are everything. And just to remind people, and again, I think we forget, we say, I am going to be a voice actor. And so you envision this life where you're gonna be in the studio, auditioning, doing gigs, and the other parts of that business, you kind of say, oh shoot, I have to do those too? And so yeah, you do. And as a matter of fact, that's kind of why there's entire marketing departments in companies that encompass people, like more than one people. And they're full time, as well as accounting people, people full time. So if you wanna run your business successfully, you've got to really remember that this marketing, you may hate it. You can decide to maybe outsource it, but you do have to have control over it being done and/or delegating it to someone. And it is a necessary evil, accounting is a necessary evil. But getting in front of casting directors, people who can hire you, that is a marketing effort and sales really. But if you're doing great marketing, the sales hopefully come automatically. Right? And you don't have to call people up and say, yeah, you know, sell your voice. But if you're doing marketing properly, hopefully it comes your way. And this stems back to a lot of conversations, and I'm sure we can talk about it as well in terms of, is your storefront ready? Do you have your website? Do you have your demos? Are you prepared to market in that respect? It's all encompassing. Lau: And you took the words literally right outta my mouth. That's how I know we're sister sisters. I know this because I was just about to say, I just coached a young man this morning and, and the concern was, ugh, I wanna get to the right agency. I need to be at a big agency. I need to get these kinds of roles. I need to do this. And then when we were actually coaching, there were a lot of issues in his delivery. So always be in coaching, always be training, always have that on your side because casting and agents and producers, you know, really isn't their job to give you feedback. I mean, you're lucky if you get some good feedback from them. A lot of casting were actors before and will just give you feedback, but many won't. And so to have that level of expectation is unrealistic. It's really not their job. Their job is to deal with placement, like recruiters. You're dealing with placement. It's the job of your coach, your trainer, or being in your class. That is really the feedback source that you need to have that piece before you're overly concerned about the business end of it. You don't wanna be marketing something that's not quite ready yet. That's not there or not competitive. Anne: Yeah. I think lifelong learners, I think as performers, whether you are acting on camera, whatever it is, theater and voiceover, I think we continually have to be lifelong learners. I mean, that's, as an educator, that's what I love so much. That's why I was in education I think because I love to learn and I am a lifelong learner. And so that includes your performance and everything that you do and your business to be continually learning. And you have to consider investment. Not everything is free. Sometimes you can train for free. There's a lot of great resources out there, but sometimes you do have to make an investment in it and you can't be surprised by that. And you can't complain. They complain about the cost of coaching, the cost of demos, the cost of marketing. But guys, that's just a reality. That is an investment in your business. And yes, maybe there are some things that cost more than you anticipated, but it is something that I think as a good business BOSS, right, you have to anticipate and you have to put that money away for that coaching. That always helps. So to get yourself in front of that casting director, now you're in front of them. You wanna be able to impress them with your performance and you wanna have something that's relevant and current. And so studying also I think trends, right? Go to iSpot, listen to current commercials, go to YouTube and listen to current voiceover. Now I'm the first person to say that not everything you hear is gonna be the right or great voiceover, but I think you can develop an ear for great voiceover. Lau: Absolutely. Absolutely. And I think, you know, having that training piece on your side like having it in, in your back pocket, the professional development, the education you're right, Anne, it's just a lifelong thing. And I often tell my clients, we're not off the hook. They somehow look at us and think, you guys are the BOSS. You own the world, you know, everything you're done. Anne: You're getting, you're getting that work for me. . Lau: And I'm telling you, they don't understand that we're always growing businesses. We're always leveling up. We're always investing and reinvesting, and fixing problems, and doing things better. It's never done. There isn't the sense of, oh, I did it. I got my demos. I'm done. No, you're just starting. You're really just beginning. You're not done. You're only at the beginning. And that's what business is like, a general sense. It's like, you always feel like you're starting and restarting based off what your new objectives and your purpose is. Quarter one, I have a new purpose. Now, quarter two comes, I repurpose that. And now I got a new objective. So I have to be able to understand that and know that the truth is our profession is a drop in the bucket, not to minimize the way people feel. 'Cause I totally empathize. Especially in the middle of inflation, believe me, I get you. I get you. But I'm telling you it's a drop in the bucket compared to going to medical school. It is a drop in the bucket compared to my friends who went for an MBA to be a financial advisor. And even actors that are friends of mine that went through three year conservatory degrees come out owing $200,000, $300,000 that they may never be able to pay off. What we are investing, Anne, is incremental. It's not overnight. It's really significantly lower than a lot of other industries out there and what they call upon just to get to the point of an interview for a job. Anne: Right. Now you did mention, and I just was asking like how things have evolved and changed over the years in terms of what casting directors are looking for. And diversity was absolutely number one out of your mouth there. And I agree with that. What else is there? I'm gonna say that natural, believable, authentic style of delivery for sure, which is 90% of casting specs when they come through. Let's talk about that for a little bit. Lau: Mm-hmm. I know that's true. That's the thing everyone gets annoyed with is like, ugh, the natural, the conversational, the connected. Anne: That's the hardest, Lau: it's the hardest. Whether you're a voiceover or an on camera, they just don't wanna hear you act. Anne: Yep, yep. Lau: They just don't want you exaggerated. They don't want you to call attention to your style. They just want to connect to you as a very, very authentic real person. So yeah. It's super important. It's the thing. It represents a whole, actually the largest generation in the United States, which is millennials right now represents them. Right? So that's something we'd absolutely have to pay attention to. Anne: Even promo by the way, even promo is going more conversational by the way. I thought that was so interesting because I hosted Rick Wasserman the other night for VO Peeps. And he said, yeah, they're looking for conversational promo. No more of the announcer style. So. Lau: That amazes me. That really does. That's so true. That amazes me. I wanted to say in casting, now we look for people who have their own built-in audience. Anne: Yes. Lau: That was not a thing. like, I'm not a digital native. I didn't grow up with a computer. Right? Like I literally learned how to turn a computer on at 32 years old. All right. So I'm off the hook a little bit, but the younger generation is not off the hook. They have to come in with their own built-in audience. What I mean by that is a lot of casting will ask you, okay, for your social media, what's your fan base like? What are your numbers like? Who's on your Insta channel? Who's this? Who's that and you're taken aback going, what, why are they asking me this? Because oftentimes they wanna ride. They wanna ride on their coattails of your current audience. Right? So they wanna take people in that already have this built in fan club. So the persona, yeah, the personality really weighs heavily even for voiceover. Anne: And I think that's gonna be that's gonna be another episode, all about social media and social media etiquette, which has become just chaotic. And I think that it's important that as companies and BOSSes, we understand how to represent those companies and our products online. And that's very important, I think, to casting directors these days. So. Lau: Yeah. It's the wild west for sure. And, and dealing with protocol and etiquette but, and again, for listeners who are going, oh no, I'm 55, and I don't know anything about that. It doesn't make you or break you. This is not like, if you don't have it, you're not gonna work. It's just, what are the waves? What are the trends? What are things that we're paying attention to that we find people are really looking for? And that's one of those. Anne: Yeah. Oh good stuff, Lau. Good stuff. Lau: Good stuff. Anne: Thank you so much again for being here and dropping those nuggets of wisdom to the BOSS listeners. I'm very excited for our future episodes. BOSSes, by the way, if you are looking to have your voice make an impact, you absolutely can. And you can give back to the communities that give to you. Visit 100voiceswhocare.org to find out more. And also as always, we love our sponsor ipDTL. You too can connect and network like BOSSes and find out more at ipdtl.com. You guys, have an amazing week. Lau, thank you so much. And we'll see you next week, BOSSes. Bye! Lau: My pleasure. Bye! >> Join us next week for another edition of VO BOSS with your host Anne Ganguzza. And take your business to the next level. Sign up for our mailing list at voBOSS.com and receive exclusive content, industry revolutionizing tips and strategies, and new ways to rock your business like a BOSS. Redistribution with permission. Coast to coast connectivity via ipDTL.

OTT/CTV advertising has officially met the reach of broadcast television. Streaming and connected TV devices exploded in 2020 as more consumers stayed home and cut the cord. In 2021, there were nearly 214 million connected television users, and that number is projected to increase to 230 million by 2025. If streaming TV ads are new to you, you likely have many questions about the landscape. How are users consuming television today? Who is streaming versus watching cable? How do you address cross-device streaming? How do you measure and test connected TV ad performance? You’re not alone. These questions are top of mind for many marketers. CTV is constantly changing and capabilities evolve seemingly overnight. To clear up some of that uncertainty, we answer these and many more questions in this webinar. Coegi partners with leading industry experts from TheTradeDesk, Magnite, and iSpot.TV. In this webinar, the panelists clearly explain the immense opportunity available to advertisers in streaming TV. You’ll come away from this webinar with a much stronger understanding of the advertising opportunity on CTV and how to leverage it for maximum marketing ROI. In addition, you’ll learn: The latest trends in OTT/CTV advertising for brands and consumers Ways to strategically incorporate premium CTV inventory into your campaigns Recommendations on how to effectively measure CTV For more resources, download our free CTV Advertising Guide.

It's Monday and we have a great week in the works! Today we cover the auto advertisers who are swooning back to the live viewership. We also meet Rivian's Chief Lobbyist and get into the WSJ comments section, as well as the impact of the much awaited ‘merge' for the crypto currency Ethereum. Football is back and so are Automotive advertisers as spending jumped over 260% from the week prior according to iSpot.tv data from $6.6M to $23.8M. 75% was allocated to NFL GamesHonda and Nissan grabbed the #1 and #2 spots with Honda dropping $8.1M on it's “Forever Determined” 30 sec spot Nissan's “60 years in 30 seconds” spot was targeted to college gamesHyundai, Chevrolet, and GMC were also on the field with new commercialsHyundai's 60 second “Chewy” was the fan favoriteThe Chief Lobbyist at Rivian, Jim Chen, is a former Tesla exec, wears cowboy boots, and is making it his mission to end the traditional model of selling cars. Fascinating story of “the wonky lawyer who produces evidence for his views and talks a lot about free market principles” Cites local Dealers power at the state level as the reason for the difficulty in establishing the D2C model“When you have one person who controls all the marbles, you get marbles when they want to give it to you,” said Don Hall, president of the Virginia Automobile Dealers Association. Mike Stanton, the president of the National Automobile Dealers Association, added that “there are rules in place for a reason.”$5.5B loss for 2022 while delivering 5700 units. Loss of $96,491 per vehicleThe COMMENTS:"Dealers and state lawmakers who oppose Mr. Chen's efforts say that independent dealerships play a critical role in the car-buying process, helping to create competition between franchises that ultimately keeps prices affordable for consumers. They argue that dealers also provide important services, such as repair and warranty work, and arrange financing for buyers at competitive rates."How can those arguments be proffered with a straight face?  Do they really think we are that gullible to believe that online sales would enhance competition by letting customers shop around. Ask anyone who has a brain if they'd rather be able to avoid trips to a showroom, and if they also think that they'd get better financing deals online.  Ridiculously anti-consumer."Auto dealers have been a fixture of American life since the early part of the 20th century, when auto makers first needed retail networks capable of selling large volumes of cars. Independent dealers did the hard and expensive work of finding customers, advertising in specific markets and servicing. " That's the same argument that the weavers' guilds made centuries ago when the loom was invented. Give me a break.

Heading into this year's annual TV advertising upfront negotiations, the big story was whether TV ad buyers and sellers would move en masse away from using Nielsen's measurements as the currency for their upfront deals. They didn't. However, that doesn't mean the measurement makeover wave has ebbed, GroupM executive director of research and investment analytics Bharad Ramesh said in the latest episode of the Digiday Podcast. “I don't know if things have quieted down. They may be quiet publicly, but we know internally — and I know speaking for some of our other agency peers — internally there's a lot of work going on in terms of lining up tests or talking to networks about shadowing currencies or even, in the case of another agency, piloting for the upfront with an alternative currency,” said Ramesh. Much of the industry's measurement work currently revolves around testing the various measurement providers in order to assess their pros and cons. For example, GroupM has been running tests with more than a dozen of its largest clients to evaluate measurement providers — including iSpot.tv and Comscore as well as Nielsen's upcoming revamped measurement system Nielsen One — so that in the first quarter of 2023, WPP's ad buying arm and its clients can decide on which to use as currencies in next year's upfront market. “Essentially we're taking a campaign that's scheduled to run in Q2 and Q3 of this year, and we want to be able to capture the campaign with the alternate providers where possible,” said Ramesh. However, he added, “the goal is not to compare and contrast as much as to understand where each of these currencies are in terms of their readiness.”

CEO Sean Muller and Product Chief Anthony Skinner describe how iSpot measures streaming and linear TV, with coverage across 40 million TV sets. For more information about our expert, Mike Shields: https://marketecture.uscreen.io/authors/author-Vh3qvaXix0g The full version of this episode is available at https://marketecture.tv/programs/ispot-seanmuller-anthonyskinner . Visit https://www.Marketecture.tv (Marketecture.tv) to join our community and get access to full-length in-depth interviews. Marketecture is a new way to get smart about technology. Our team of real industry practitioners helps you understand the complex world of technology and make better vendor decisions through in-depth interviews with CEOs and product leaders at dozens of platforms. We are launching with extensive coverage of the marketing and advertising verticals with plans to expand into many other technology sectors. Copyright (C) 2022 Marketecture Media, Inc.

Anne & Pilar are casting directors! Or at least they were for the first ever #VOBOSS Bilingual Audition challenge. They share the common mistakes, honorable mentions, and (of course) the winners! Tune in to sharpen your auditioning skills & learn what the audition selection process is really like. Transcript >> It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza. Pilar: Hola, BOSS Voces. Bienvenidos al podcast con Anne Ganguzza y Pilar Uribe. Anne: Hey everyone. Welcome to the VO BOSS podcast. I'm your host Anne Ganguzza, and I am here with the one and only amazing special guest co-host Pilar Uribe. Hey Pilar. How are you? Pilar: Hola todos. ¿Cómo están hoy? Anne: Hola. So Pilar, I'm super excited today because a few weeks back we launched the VO BOSS Spanish bilingual audition challenge. Woohoo! Like it was our first bilingual audition challenge that I've ever seen actually and conducted. And I'm super excited because we sent out the casting first of all through our good friends over there at CastVoices, Liz Atherton and the team over there at CastVoices. We sent out this audition through their system, and we also sent an email to all of you BOSSes out there. And we also published far and wide on social media. So let's talk a little bit about what the specs were for this audition challenge. So the specs were, it could be male, female, non-binary, age range from 25 to 65. So the purpose of this audition challenge was primarily for educational purposes. And so we cast the net far and wide. Our specs were for male, female, and non-binary, age range from 25 to 65. So our specs also wanted to grab a diverse range of voice talent. The voice should be confident, knowledgeable, we have a lot of adjectives here, optimistic, never take themselves too seriously, but at the same time don't come off as sarcastic either, warm, human, down-to-earth, and playful. Their delivery is conversational, relatable, and above all else nothing that is typical commercial sounding ,movie trailer, or announcery at all. Sounds pretty common to me, those specs, right, Pilar? . Pilar: Yeah. And, and the thing is, is that a lot of the times you get just this three paragraphs worth of specs, 'cause they, they want to really throw the kitchen sink in. And the casting directors, they're looking for something. So they're trying to be as helpful as possible. Anne: Yes. Pilar: And sometimes as voice actors, we go, oh my gosh, they gave us so much. Anne: Sometimes it's not helpful. Pilar: Really and truly -- yeah, well right. But they're trying to give you as much information as possible -- Anne: Mm-hmm. Pilar: -- so you can make your creative choices. Anne: Absolutely. We also specified that talent should read both Spanish and English versions with or without a specific regional accent. And we were going to judge on performance. We wanted two separate MP3s delivered and labeled and named in a particular fashion. And also what else did we specify? Oh, it needed to be uploaded to a Dropbox location that we had set up for the challenge. Pilar: Well, and I think we were very conscious of what we do on a daily basis. I mean the auditions that come in from my agents are very, very similar to that. Anne: Mm-hmm. Pilar: So we wanted to make it as close to a real audition as possible. Anne: Absolutely. Pilar: And you get this list of things that you need to look at and you need to look at all the aspects of the audition. Anne: Absolutely. We also gave some references. So if people wanted to learn some more, we pointed back to a couple of episodes that you and I did about bilingual on the VO BOSS podcast. And very exciting, we have prizes. So we are going to be selecting today three winners. We are going to select the best English audition, the best Spanish audition, and the best English and Spanish combined. So the prizes are going to be an amazing choice of swag from the VO BOSS shop. And also thank you so much to, again, our friends over there at CastVoices and Liz Atherton, a one year CastVoices pro membership, courtesy of Liz and CastVoices. So very excited about that. All right. So let's talk overall what we thought about the contest and how it went. And actually we gave, I think it was almost two weeks we gave. The due date was to -- Pilar: Mm-hmm. Anne: -- have everything submitted by 6:00 PM Pacific on April 15th. And we took that very seriously because that gave you almost two weeks to submit. We did have some people that submitted a couple, and I was okay with that. Normally that's not how it works in the audition process. You wanna get your audition in probably sooner if you can, rather than later, but because this was an educational experiment, an educational process, I said it was okay to upload alternate files as long as they were in by the due date. So let's talk about the good, the bad and the ugly Pilar: Oh yeah. Anne: Let's start with the ugly. I'm just gonna say, we could probably say it together. One of the biggest things was not following directions. I mean, everything from uploading to the wrong spot and the one that you kept catching. So I know you're gonna say no slate. We requested a slate, and there was so many people that did not have a slate. And that made a difference if it came between two close contestants. So it did make a difference. Not auditioning for both spots. And I'm gonna say the ugly would be ugly audio because people didn't have a good recording environment. There might have been noise. People might have been -- noise in the background. I heard like some whirring and hissing and I don't even know, people plosive-ing on the mics. Pilar: Or they were different levels. Anne: Yep. Different levels. Pilar: One was really loud. The other one was way softer. Anne: Exactly. So yeah. What was ugly for you? Pilar: So for me, the reason why we did this was really, we wanted to simulate what a real audition is like. And the whole slating thing is just, I've been in webinars where they say, well, it doesn't really matter anymore. It really does. And I get probably, on any given day, let's say, I'll get 10 auditions, five of them say, please slate your name when you send in your MP3. Anne: Yeah. Pilar: And that's one thing and it's into highlighted. And then the other way it comes in is do not slate anywhere on your file, in bold letters, capitalized, highlighted. So the direction was, and it was really simple, just slate your name. Anne: Right. Pilar: And of -- we had 110 auditions, almost half -- Anne: I think it was 120, yeah. Pilar: 120? Anne: Yeah, okay, so half of them. Pilar: So almost half of them -- Anne: Yeah. Pilar: -- came without a slate. Anne: Yeah. Pilar: So that is just glaring because obviously people were quick to rush. Other things that we got, which weren't really necessary -- and I will tell you, because my agents in LA are a little bit more forgiving, but the agents in New York, they are very clear on their auditions that if you don't do it exactly the way they say, they are just not submitting you. Anne: Yeah. If you can't follow directions, then it's very likely that you can't follow direction. Pilar: Right. Anne: Get it? Pilar: And -- exactly. And so when it says, like your name, you slate your name. Don't slate your hometown, don't slate -- Anne: Yeah. Pilar: -- your email address. When you label -- and this is something that is, you know, you copy and you paste it. You don't try to sit there and memorize it. The reason I say this too is because as a voice actor, I saw a lot of mistakes that I have been guilty of at some point. So it was actually a real learning experience for me to go, oh, okay. Once I have done my audition, I've edited it, and I've checked all these things, I -- and I've been doing this for a while, but it really makes me understand that I have to have an eagle ear -- I go and I put it in a file. I go away, I take my headphones off, and then I come back to it and I listen to it as an MP3. Anne: Mm-hmm. Pilar: Because you can't trust your ears. And a lot of the times there are things that just, they don't correlate. So if it says, slate your name, you slate your name. And when you label, you label the way they're asking you to label. So you have to check and recheck your audition because here's the thing about auditions. Auditions are the job. This is what we do. This is what I do every day. The gigs are the hobby, and the gigs are wonderful, but really it is the job. And so if you are submitting to your agent, they need to know that you're serious. They need to know that you're gonna be able to send your auditions the way they asked you to send them. Anne: Mm-hmm. absolutely. Pilar: Because this is not a dress rehearsal. It's not something that you just slap together. It's better not even to send it in, if you're just gonna kind of do it in this sort of half-baked way. Anne: That's such a good point. What happens is, especially if you're sending to your agent, I think that if you become a person and they -- you get a lot of auditions from your agent and you submit all the time -- if you're constantly not following directions, that agent remembers it. And whether or not they mention that to you, I'm sure they will at some point, but it just sticks in their brain. It sticks in my brain when you don't follow directions, because I'm like, ah, that would was a great read, but they didn't name it right. Or I lost it; where did it go? If they had named it right, I would find it. What was that audition that was so good? Or they didn't slate. Oh yeah. What was that guy? So really it becomes something that sticks out in a way that maybe is not as positive as you'd like. And the next time you're asked to submit an audition, I think it just becomes something that gets stuck in their memory. Then it becomes like, well, again, they forgot to slate, or again, they didn't name the file correctly, so now I've gotta go and fix it here on my system. So that just really stands out, I think if you cannot follow directions. And again, if you can't follow directions, it leads me to think that you cannot follow direction either, so. Pilar: Well, and here's the thing that it's even more serious because it's your category, and it's one audition. They're probably dealing with 30 auditions on any given day -- Anne: If not more, right? Exactly. Pilar: Yeah. But let's just put 30 as a, let's just say 30 auditions on one given day. Anne: Mm-hmm. Pilar: So let's say they are submitting five of their best people, but they're sending it out to 50 people for each audition. Anne: Mm-hmm. Pilar: They don't have time to sit there and email you back and say, you did not slate. Anne: Yeah, absolutely. Pilar: Or you did something or, or there was a mistake here. They're just not gonna submit you the next time. Anne: Mm-hmm. Pilar: They're not gonna tell you because the whole thing is on you. You have to be proud of the fact that you are -- this is -- it's a craft; auditions are a craft. And so it's like, you're giving like a little mini performance. Anne: Mm-hmm. Pilar: Because you're basically saying to the person who's hearing on the other end, I can do what you asked me to. Anne: Mm-hmm. Absolutely. Pilar: So you have to make sure that it, it is all in place because if you ask them, because I have. I mean, at the very beginning, when I first started working with my agents and I wasn't booking and I, so I asked them, and they gave me some really constructive criticism. And so I went and I studied more with some specific people, and then I started booking, but they're not gonna sit there and say, oh well, you didn't slate and you keep not slating. And we can't submit you. They're just gonna ignore you. Anne: Everything contributes, everything contributes to it. Pilar: Yeah, exactly. Anne: Absolutely. Pilar: So it, it's so important. For everybody who slated, thank you. And for everybody who followed the directions, thank you. But for the people who didn't, just remember that there's more than one pair of ears listening. Anne: Yeah, absolutely. Pilar: And so for the next time, make sure that you've crossed your T's and dotted your I's when you send submissions in. Anne: I mean, every time when people are asking casting directors, what are the worst things you can do when you submit an audition? Pilar: What's your pet peeves, yeah. Anne: And that is not following directions. Now, the other thing I noticed for the ugly was the bad audio. So, you know, it's unfortunate. It is part of the business though; you do have to have a good studio or a great studio where you can produce quality audio. And if you have bad audio and, and it becomes between you and another person who had it, maybe an equally great read, I'm gonna pick the person that has the good studio or the, the studio. Because I cannot guarantee, let's say, even though you may not have the best studio sound, that you're gonna be able to come into the studio and then execute by tomorrow, if that's when I need the spot to be done. So you really have to invest in figuring out how to get the best quality audio out of your studio. Pilar: And just, it's so important to note that having the best quality studio does not mean you have to spend $5,000. Anne: Exactly. Pilar: Because what they're looking for to be able to submit to the client, what they're looking for is clean audio. It does not have to be a $10,000 studio, a $10,000 booth. It has to be clean. So there's, there are parameters that you have to follow in terms of getting that -65 DB noise floor. It's not hard, but it just takes work. And you have to be able to put in the time and find out how to get that quality. Anne: Well, the cool thing is is that once you get it set up, usually you don't have to change it. It's not like you're gonna have to improve it afterwards. Pilar: Exactly. Anne: And there's a lot of really wonderful audio engineers out there that can help you. They don't have to come to your house. Pilar: And they don't have to cost an arm and a leg either. Anne: They don't, but they're very well worth -- Pilar: There's some great people out there. Anne: They're very well worth the investment of getting that sound to be in tiptop shape. Pilar: Yeah. Yes. Because once you have it, then you've got it forever. I, yeah, absolutely. Anne: Exactly. Pilar: Good point. Anne: And that's, and it's done, you know, set and done. So let's talk about, okay, that was the ugly. There might be more if we, if we wanna talk about it more, but I'm gonna go into the bad now, which is not quite as ugly, but the bad is -- so let's think about this. Probably 90% of the time for a commercial read these days, we are being asked for conversational, nothing, typical commercial sounding or announcery. Pilar: Mm-hmm. Anne: Honest to God. Every time I see it, it's like nothing that sounds commercially. So I think that for a lot of you, it's hard to hear yourselves because I think what you're trying to do is sound like you're conversational, and you're not actually acting, and you're not actually in a scene and being conversational. So I'm just gonna say that it's not bad. It's just that you need to develop that ear. You need to really put in the hours for getting yourself as best as you can be in the scene, acting it out so that it's believable and it's authentic. And the thing is, is that when you listen to 200 auditions, it is very obvious which ones are sounding authentic and genuine, and which ones are just trying to sound conversational, and of course those that are being announcery. So it becomes very evident to the ear when you listen to it. And I think when we reveal some of the winners, you're gonna hear that as well. So I'm just gonna say maybe not the bad, but I think everybody always, it is our job to be good at what we do and to be able to bring that copy to life in the way that the director wants to. And so to get my ear, the casting director's ear, if you can show me that you can act, I'm gonna hire you because then if I want you to sound commercially, it's a piece of cake. And a lot of times that might be what you hear on the television. But the fact is is that when you're auditioning, you gotta show me that you can act, and that's the audition that I'm gonna pick. Pilar: And the thing is when you know, people will say, well, what do I do? Where do I go? And coaching is so expensive and this and this and that. Well, it does take work, and it does take learning, but here's the thing. YouTube and iSpot TV are your best friends. Anne: Mm, I'm gonna disagree with you there. Pilar: Why? Anne: Because yes, you can go and listen to the commercials. But again, if the end result is being directed to sound commercially, it's not necessarily gonna help you not sound commercially. Pilar: No, but I'm talking about getting an ear for what is being heard on the radio. For example, if you don't know what it sounds like for, let's say a Ford commercial, you go and you look up a Ford commercial. It's like, when you don't know something, you go and you look it up. If you're auditioning, like, let's say you don't know what a microwave sounds like. You go and you look up, what does a microwave sound like? How can I experiment with how a microwave sounds like? Let me play with it. 'Cause that's what we saw, what we heard in these reads, people who were willing to take a little chance and people who were willing to sort of put some of their personality in there. That's what I mean in terms of doing research for trying to figure out, well, what is it, if I don't really know what it is -- go listen and also study. Absolutely. But there's always research to be done when you are voicing something that you might not be super familiar with. Anne: I will agree with you there. If you're not familiar with the brand, I would absolutely go and do a Google search of the brand. And I'm gonna just say, I'm gonna be very careful listening to other commercials on YouTube and or iSpot. Some of them are amazing, but some of them are not -- if they're ask for a particular style of a read, just be careful. Because not everything that you hear on TV is conversational. And so if the specs are asking for that, then make sure that you go and find something that sounds conversational and not commercial. And if you are new to the industry, I would recommend that you get some coaching to help you with that, to help develop your ear. I think you should consider it to be an investment in your business. And I'm not saying this because I'm a coach. I'm really not. I just know that the longevity of this profession, you learn it's a marathon, not a sprint. Over the years, I've studied, I've coached and I've developed an ear. And I think that that is something that doesn't happen overnight. And so you really have to go and study, Google and make sure you're listening to good commercials and great actors and invest in a coach. And I'm not saying you need to invest in a coach for 10 years, but I think even the best still hit up coaches so that they can continue to be their best. All right. So, and now for the really good, now we're going to announce the winners of each category. So let's start with the winner for English, and the winner is....Joe Lewis. Yay, Joe. Let's play his winning audition. Joe: Beep beep. That is the sound of me signaling that this is a car commercial while being considerate of the fact that you may be on the road. It's exactly this kind of consideration that lets you know you can trust Toyota and our all new 2022 Highlander SUV to get you where you need to be faster and more reliably. Beep beep beep beep beep -- oops. Sorry. I think my burrito's done. Anne: Yay. Congratulations, Joe Lewis. So let's talk about what we liked about Joe's audition. I'll start with saying, I really liked his warm tone. I thought that it was really friendly and super conversational. Pilar: Yeah, absolutely. I will say he did not slate... but his audition was so good, and he made me feel sort of like, oh wow. He made me feel warm. That's what his voice made me feel. Anne: Yeah, me too. Pilar: And that, and that's so important -- Anne: Me too. Pilar: -- when you're listening to any kind of commercial, when you're listening to a voiceover, if they make you feel something -- Anne: I was just gonna say that, yes. Pilar: Then you know that you have reached that person. You've reached that, you know, it's like you've gone through the sound and through the, through the computer, through the cyberspace, and you've reached that person, 'cause you're like, oh yeah, okay. This is, this is cool. I, I, I could trust this person. Anne: Yeah. Such a good point because that is exactly how I felt when I listened to it. And when I listened to it for the first time, I immediately went, oh it wasn't like, oh I love the sound of that. I love the way he did this particular. I mean, there's lots of aspects of it that I love, but it was the feeling that I was left with, and that is gold, pure gold. So yeah, if you can just listen to an audition or listen to a spot and you are able to feel something about it, then I think that is, that is the money, that is the money read. So yeah. Congratulations. And I loved how at the end he really kind of had a different tone, a change of tone. He kind of brought his voice down like, oh it was a secret about the burrito. So I liked his ending burrito. Awesome. All right. So now there were so many good reads that we also decided to award an honorable mention for the English category, and we think you're gonna really enjoy her read too. So the honorable mention in English goes to....Sofia Zita. Congratulations, Sofia. Let's play her audition. Sophia: Beep beep. That is the sound of me signaling that this is a car commercial while being considerate of the fact that you may be on the road. It's exactly this kind of consideration that lets you know you can trust Toyota and our all new 2022 Highlander SUV to get you where you need to be faster and more reliably. Beep beep beep beep beep -- oops. Sorry. I think my burrito's done. Anne: Oh gosh. So I love Sophia's beep that like that struck me from the beginning. I just thought it was really cute. And I'm gonna say at the very end, like she did something, she went off mic. She did an off mic technique for her burrito, which I thought was super creative and super fun. And I thought that her personality, while I thought there were some places in, you know, maybe her first couple sentences where it may not have the flow of a conversational English, her personality just shown so brightly through it that I couldn't help but smile when listening to her. So again, it evoked a feeling out of me, and that pretty much just said, yep. She needs to get an honorable mention for that. So great work on that, Sophia. What are your thoughts? Pilar: I felt like she was talking right to me. I felt like she was standing right next to me talking to me from the get-go. And I was like, oh wow. It's like, she was right there next to me. I don't know it just, again, it gave me this warm feeling inside, and I was like, okay. Yeah. Anne: Yeah. So that really unique beep and that off mic technique really grabbed me at the beginning and at the end too. Pilar: Yep. Anne: So it made her pretty memorable. Pilar: Mm-hmm. Anne: All right. Congratulations, Sofia. All right. Let's talk about now the winner in the Spanish category, and Pilar, I'm gonna let you handle that. Pilar: So the winner in the Spanish category is.... Milena Benefiel, and this is her submission. Milena: Milena Benefiel. Beep beep. Es el sonido que uso para siñolar que este es un commercial de autos mientras que usted podria está conduciendo la caretera. Este tipo de servicio es lo que le permite saber que puede confiar en Toyota y en nuestra nueva SUV Highlander 2022 para que se transporte de un lugar a otro de la manera más rápida y confiable. Beep beep beep -- balla, lo siento, creo que mi burrito está listo. Pilar: I felt like she was very just right there and very straight forward. And you know, this is how it's done. And there was that little sort of laugh at the end. And I, I just, I love this read. Anne: I thought she had a nice, warm smile and a lot of personality in it. Pilar: Yeah. Anne: And so I really enjoyed her, and there were so many good ones, but I, I think for her, I just felt an immediate connection with that. Pilar: Mm-hmm. Anne: She was, it was almost like she was in my ear. Pilar: Yeah. Anne: And that's a very cool feeling. It's like, hey, telling you a secret and let me tell you about this Toyota. So yeah. Lots of fun and nicely done. Congratulations, Milena. Pilar: Okay. So now we have an honorable mention for the Spanish version and the runner-up was....Nicoletta Mondellini, and here is her read. Nicki: Soy Nicki Mandolini con Dos Thomas. Beep beep. Es el sonido que uso para siñolar que este es un commercial de autos mientras que usted podria está conduciendo en la caretera. Este tipo de servicio es lo que le permite saber que puede confiar en Toyota y en nuestra nueva SUV Highlander 2022 para que se transporte de un lugar a otro de la manera más rápida y confiable. Beep beep beep beep -- balla, lo siento, creo que mi burrito ya está listo. Beep beep. Es el sonido que uso para siñolar que este es un commercial de autos mientras que usted podria está conduciendo en la caretera. Este tipo de servicio es lo que le permite saber que puede confiar en Toyota y en nuestra nueva SUV Highlander 2022 para que se transporte de un lugar a otro de la manera más rápida y confiable. Beep beep beep beep -- balla, lo siento, creo que mi burrito está listo. Anne: . I'm all about her beep, I'm just saying. Pilar: Her, yeah, her beeps are really fun. And so since we didn't specify one take -- Anne: Mm-hmm. Pilar: -- or two takes, obviously there a few people who submitted two takes, and I really liked her read because it was different, the first one from the second. Anne: Yeah. Pilar: The first one was very bubbly. Anne: Mm-hmm, yep, absolutely. Pilar: And it was bouncy, and it was full of energy, and the second one was straightforward, but it was still warm, still engaging. Anne: I agree. Pilar: Still talking right to you. And I liked that. Anne: I agree. And I, I think you're right. We didn't say one or two takes, we didn't make a specification, but I think that if you are going to submit two takes, make sure that those two takes are different and different enough so that we can hear that difference. Because for me, that ended up being the point where I said, oh, that was a really cute take. I was like, okay. Short list. But there was a few people on my short list, but when she went on the second take, it showed to me that she could actually have a different take and act. And so I tended to choose her because she did the second take because now I know for a fact that she can give me a different read, and I know I can feel confident that when I'm directing the session, that she can give me what I need. Pilar: That she can deliver. Anne: Yeah. That she can deliver. And so congratulations. And that beep really kind of stuck out. And so here's the thing we asked, 'cause beep beep was kind of a sound effect in the file. We never really specified where the beep was coming from. Even though it seems obvious that maybe it would come from a car or a microwave. But what I loved is most people had a lot of fun with the beep beeps, and I applaud that because that's what made your auditions stand out, if you had fun with the beeps or if you could laugh at yourself. I had a couple of people that really, really went all out for the beeps. And I think that it paid off. Pilar: Because when you bring that little teeny weeny piece of creativity, it affects your voice. Anne: Mm-hmm. Pilar: And it affects your attitude. Anne: Yeah. Pilar: And so that tells us as the casting directors, oh, they know how to play. They know how to give us a, a little bit of a different flavor for that particular moment, even if it's just two seconds long. Anne: Yup. Absolutely. Pilar: So that's really important. Anne: Cool. Pilar: Yeah. Anne: All right. So now our final category, our combination. Pilar: You know what? Anne: Yeah? Pilar: I feel like this deserves two drum rolls. Okay? Anne: because let's talk about the English first and then the Spanish. How's that? Pilar: Exactly. Anne: We'll do that. So one drum roll, one drum roll. Pilar: One drum roll. Anne: Winner of the English is Ramesh Mathani. Congratulations, Ramesh. Let's play his winning read in English. Ramesh: This is Ramesh Mathani. Beep beep. That is the sound of me signaling that this is a car commercial while being considerate of the fact that you may be on the road. It's exactly this kind of consideration that lets you know you can trust Toyota and all our new 2022 Highlander SUV to get you where you need to be faster and more reliably. Beep beep beep beep beep -- oops. Sorry. I think my burrito's done. Beep beep. That is the sound of me signaling that this is a car commercial while being considerate of the fact that you may be on the road. It's exactly this kind of consideration that lets you know you can trust Toyota and our all new 2022 Highlander SUV to get you where you need to be faster and more reliably. Beep beep beep beep beep -- oops. Sorry. I think my burrito's done. Anne: So two completely different reads and interestingly enough, he had a little bit of a, a global international accent on his first read and then more of a straight English read on the second, but they were definitely different. And I remember listening to his first read, I thought, oh, that's really, that sounds nice. But I was just like, okay, I let it -- and then when he came in with the second one and had a different read completely, and even had a different like burrito he had a different burrito expression, I really just thought that that really showed his acting ability. And I was, I was just very impressed. Pilar: Yeah. And I just, I wanna reiterate how important it is to have, if you're going to do two reads, make them different. Anne: Mm-hmm. Pilar: Obviously you don't wanna, you know, have a low voice and then have a high voice because that's kind of silly, but there were a couple of entries where the exact same thing was uploaded twice. Anne: Mm-hmm. yep. Pilar: Or a read was done double time, much quicker. Anne: Mm-hmm. Mm-hmm. Pilar: But that doesn't make it a different read. What's your attitude? Who are you talking to? Anne: Right, exactly. Pilar: Are you talking to your mother or are you talking to your best friend? Anne: Sure. Pilar: Are you talking your husband? 'Cause that's going to inform the difference in the read and that's what's gonna make a difference and show us that you know how to act. Anne: Yeah. Change the scene and change your read. Don't just change what it sounds like. Right? Pilar: Yeah. Anne: Change your scene and it'll change your reaction to it and your acting. Pilar: Yeah. Anne: So awesome. So now let's go ahead and play his winning audition in Spanish. Oh! Pilar: One more time for the drumroll. Anne: That's right. Ramesh. Pilar: Ramesh. Ramesh: Soy Ramesh Mathani. Beep beep. Es el sonido que uso para siñolar que este es un commercial de autos mientras que usted podria está conduciendo en la caretera. Este tipo de servicio es lo que le permite saber que puede confiar en Toyota y en nuestra nueva SUV Highlander 2022 para que se transporte de un lugar a otro de la manera más rápida y confiable. Beep beep beep beep beep beep -- balla, lo siento, creo que mi burrito está listo. Beep beep. Es el sonido que uso para siñolar que este es un commercial de autos mientras que usted podria está conduciendo en la caretera. Este tipo de servicio es lo que le permite saber que puede confiar en Toyota y en nuestra nueva SUV Highlander 2022 para que se transporte de un lugar a otro de la manera más rápida y confiable. Beep beep beep beep beep -- balla, lo siento, creo que mi burrito está listo. Anne: You know what I love about that? Pilar: What? Anne: So besides that he's got two different reads, what is really strategic that he did is he placed in both his English and Spanish placed his second read right at the end of the first so that there was no time for the casting director to just like, okay, next. So he literally almost ran them into each other so that it was obvious that there was a second read coming, and it was actually really kind of cool that beep beep was the words because it made it even more like distinct that here's the first read. Here's the second read. But he just, he really butted them up against each other to strategically not allow the casting director to take the ears off of the listen. Pilar: Yeah. And that's so important as we've probably discussed in an earlier podcast, how casting directors are gonna listen to you. They say they listen to everything, but my question has always been -- 'cause I listened to every single one of these. Anne: Do they? Yes, I did too. Mm-hmm. Pilar: And to the end. So when I hear casting directors say we listen to every single one, I wonder, do they listen to every single one to the end? Anne: Right. Pilar: Or do they in fact listen to -- Anne: The first part. Pilar: -- six seconds -- Anne: Mm-hmm. Pilar: -- which is what is sort of the average. Anne: Mm-hmm. Pilar: And that's why it's so important to remember the ears that are listening to it on the other end. What you're saying is something that I'm gonna use too is just to -- Anne: Yeah, super strategic. Pilar: -- just to smoosh it right next to it so you you're not giving -- to me, one of the things I learned when I started doing on camera work so many years ago, 'cause I've been doing auditions for like over 30 years, is that you wanna make it really difficult for them to turn you off. Anne: Yeah, absolutely. That's it, that's key. Pilar: Or to discount you. Anne: Yep. Pilar: So you wanna do everything possible and obviously you don't wanna make it sound rushed, but it's -- and that's what it means about making, just perfecting the audition. So it's like a little slice of this perfect 30 seconds, and it's not about, you know, being perfect. That's not the point of it. Anne: Yeah, absolutely, good point. Pilar: But it's just about how much you can give to the audition that you're sending in. And then you just, you know, you send it in, and then you let it go and you release it. Anne: Yep. Exactly. Pilar: And I think that he gave us variation. He gave us warmth. Anne: He gave us the feels. Pilar: I trusted him in both languages. So I felt like, oh yeah, okay. If this stranger came up to me and spoke to me, I'd be like, yeah, this is okay. I can go with this. Anne: Yeah, absolutely. Pilar: So that's so important because it's about confidence. It's about confidence in what you're doing in the moment as you are acting. And so if you believe what you're saying, the person on the other end is gonna believe it as well. Anne: Absolutely. Absolutely. Oh, great takeaways. I mean, so let's remember, BOSSes, make sure that first of all, you follow directions . First of all, follow directions, make sure that you've got some good audio coming out, really work on your acting, make us feel something at the end of your read. And again like Pilar, I love that you said it doesn't have to be perfect. And as a matter of fact, there's a lot of imperfections. I even wrote a blog article on it once, but imperfections are beautiful, and imperfections make me listen. They make me connect. It makes you relatable. It makes you real and authentic, and play, have fun. Pilar: Play and have fun. And don't be worried about if your throat does something weird and it comes out -- Anne: Yeah. Pilar: -- and it's funny, keep it. Anne: If you don't think it sounds right. Pilar: Yeah. Right. Like don't get rid of all your breaths. If that's part of the acting, keep them in there. Anne: Yeah. Pilar: It does not have to be perfect. Anne: Yeah. Pilar: But it has to be engaging so we stop and go, oh yeah. That's what that, that's it, that's the one. 'Cause most of the times casting directors don't know what they're looking for. Anne: Mm-hmm. Pilar: But when they hear it, they're like, yes, that's it. Anne: Mm-hmm. Pilar: That's what I want. Anne: Absolutely. Well, to wrap this all up guys, congratulations. Thank you all for participating. It was an amazing challenge, I think. Everyone, I thank you all for participating. Congratulations to our winners, winner of the English, Joe Lewis, and honorable mention to Sofia Zita. Pilar: Winner of Spanish Milena Benefiel, winner honorable mention Nicoletta Mondellini. Anne: And the winner for both English and Spanish, Ramesh Mathani. Pilar: Ramesh! Woo-hoo! Anne: Congratulations, everyone. I'd like to give a huge shout-out to our sponsor, ipDTL. You too can connect like BOSSes and find out more atipddl.com. You guys, have an amazing week, and we'll catch you next week. Congratulations, winners. Woo-hoo! Pilar: Ciao. >> Join us next week for another edition of VO BOSS with your host Anne Ganguzza. And take your business to the next level. Sign up for our mailing list at voboss.com and receive exclusive content, industry revolutionizing tips and strategies, and new ways to rock your business like a BOSS. Redistribution with permission. Coast to coast connectivity via ipDTL.

Does it seem like activity is picking up out there in the tech world? Big fundings may be happening less frequently (with notable exceptions such as Convoy) but the return of events and in-person meetings seems to have created a collective energy that's been missing for the past two years. In that spirit, we've got a grab bag of topics on this week's show: New era for Netflix: News that Netflix is exploring a lower-price tier, supported by advertising, has us thinking back to our recent episode with Anthony Skinner, tech chief of advertising measurement and analytics company iSpot, who foreshadowed this move. We also marvel at the brief lifespan of CNN+, and lament all the streaming subscriptions on our monthly bills. Amazon's next big business? Amazon's unveiling of a new program called "Buy with Prime" will let Prime members buy items on non-Amazon e-commerce sites, and it's a key step toward a standalone Amazon shipping business, perhaps meeting the qualities of a "dreamy" business that Jeff Bezos outlined in his 2014 letter to shareholders. Paul Allen's legacy: The reported sale of late Microsoft co-founder Paul Allen's Flying Heritage Collection fits a pattern of his estate divesting some of his more fanciful projects, while sticking with his core investments in technology and science. It also hints at what's ahead for Living Computers Museum, the Seattle Seahawks, Cinerama, etc. More topics: GeekWire's upcoming trip to Pittsburgh; the May 12 GeekWire Awards; our recent episode with Soviet-born Seattle tech CEO Sergei Dreizin; and an upcoming episode with Reggie Fils-Aimé, the former Nintendo of America president, about his new book. With GeekWire co-founders Todd Bishop and John Cook; Audio editing and production by Curt Milton; Theme music by Daniel L.K. Caldwell. See omnystudio.com/listener for privacy information.

Most online publishers and advertisers are accustomed to real-time analytics, the ability to see how many people are viewing a website or app at any moment, where they're coming from, generally who they are, and what they're doing on the site. But that concept was a novelty in TV advertising before a startup called iSpot.tv came along in 2012. The company, based in Bellevue, Wash., took the turnaround time for data about television ads from weeks and days to hours and minutes. A decade later, iSpot is a key partner and resource for major media platforms and advertisers. With more than 300 employees, the company has been growing organically and through acquisitions, it's increasingly becoming an alternative to industry stalwart Nielsen as a standard for audience measurement. Meanwhile, Nielsen announced this week that it will be acquired by a private equity firm for $16 billion. In the most recent example of the shift, NBCUniversal announced a multi-year agreement with iSpot to provide real-time audience measurement across platforms, starting with the 2022 Olympic Winter Games and Super Bowl LVI, and most recently for NBCUniversal's "upfront" negotiations with advertisers for the 2022-23 television season. The upfront news was announced iSpot tech chief Anthony Skinner during an NBCUniversal developers conference on the Saturday Night Live stage in March. He joins us on the GeekWire Podcast to talk about the underlying changes in how we're all watching TV and consuming content, and how analytics have evolved along the way. The company is a finalist in the category of Next Tech Titan in the 2022 GeekWire Awards, and Skinner was featured in a 2019 GeekWire Geek of the Week profile. See omnystudio.com/listener for privacy information.

We look at these measures of Super Bowl performance. Total audience size. iSpot analysis. USA Today Ad Meter. And the fake audience data online. #superbowlads #quantitativeresearch This episode is also available as a multimedia blog post: https://evansonmarketing.com/2022/02/16/assessing-super-bowl-lvi-ads-quantitatively/

Nielsen has always “had a challenge with counting appropriately,” says Andrea Zapata, head of research, data and insights at WarnerMedia Ad Sales. That's why WarnerMedia is going big on alternatives: VideoAmp, iSpot and Comscore.

I am coming at you with a Solo Sam episode to kick off the newest season of the podcast. A big thank you to all of my longtime listeners, and a huge welcome to everyone who is new here. I wanted to start off the season by going over everything I did well & poorly in 2021 in my acting career (Something I borrowed from my good friend Ashli Pollard's The Daily Hype Podcast). Remember to take what serves you, leave what doesn't, and please don't judge the rest! — Four Things I Did Poorly: Meeting and communicating with Old/New Casting Directors Taking time to watch the content I didn't book but auditioned for Slowing down Getting caught up in image overacting in auditions — Six Things I Did Well: Tracking my auditions + communicating with my reps Staying in my proverbial lane Increasing my acting community Taking liberties in auditions and not taking it so personally Saying "no, thank you" to extra classes Staying present If you want to do your own "well & poorly" for 2021, be sure to tag @onebrokeactress on Instagram so I can see it! Resources Mentioned in This Episode: Working Actor Workshop "Things I Track About Auditions That You May Forget About", Audition Tracking reel, a post asking how others track their auditions, and going to IMDb to see who booked projects you auditioned for. iSpot to find info for audition tracking commercials "The Gmail Tools I Live By" Season 8. Ep 10 - Dealing with Jealousy and Comparison The Actors Rise newsletter with Jenna Doolittle Tony Rossi's Actor Problems Podcast & Actor Mindset Coaching The Actor Mindset Podcast with Amy McNabb Mornell Studios Brian Patacca's concept of terminal uniqueness -------- Want more? Check out Patreon for bonus episodes, IG Close Friends content, and so much more. And don't miss all the content on IG and as always at, OneBrokeActress.com And if you're needing some personalized help from Sam, you can schedule a chat with her right here. Don't forget to join the mailing list here! --- Send in a voice message: https://anchor.fm/one-broke-actress-podcast/message

Sinclair, Apple, and DAZN are working to bring NBA, MLB, and premier league games to streaming audiences. And NBCU is looking to improve cross-platform ad measurement with a new partner, iSpot.tv.

Rozmówca Pawła Rożyńskiego - Jakub Rataj, kierownik ds. szkoleń i rozwoju w iSpot Poland, sieci sklepów z produktami Apple, tłumaczy, dlaczego warto je mieć w firmie. Jakub Rataj przekonuje, że zamiast tradycyjnego zakupu warto skorzystać z leasingu sprzętu. W tym roku polskie firmy wydały w ten sposób na sprzęt niemal 529 mln zł, o 3,5 proc. więcej niż rok wcześniej – wynika z danych Związku Polskiego Leasingu. To pokazuje, że przedsiębiorcy coraz chętniej sięgają po tego typu wsparcie przy inwestycjach w IT.Podcast powstał przy współpracy z iSpot. See acast.com/privacy for privacy and opt-out information.

Today’s guest is a Ukulele playing, folk-singing, writer, producer, and new series regular on season 3 of Virgin River: Zibby Allen. Her energy and insight into the creative process is infectious. And her 20+ year career is an example of just how much beauty—and success—can come from our projected failures. You’ve probably seen Zibby one of the dozens of commercials she’s acted in over the years. She’s appeared on many hit shows including GREYS ANATOMY, THE EXORCIST, ROGUE, THE TWILIGHT ZONE, NANCY DREW, THE FLASH, and FOR THE PEOPLE. And if playing the Ukulele wasn’t enough to make her a super cool human, she produced and co-hosted the first 4 seasons of a true crime podcast. Then alongside an all-female cast and crew, she co-wrote, co-produced, and starred in the indie feature THE LIVING WORST. We cover a lot of ground in this episode, from the time she landed multiple top tier agent meetings (and what happened at the final one) to the mortifying time she went against her creative intuition (and why she vowed never to do that again). She talks about audition life in Vancouver vs. L.A., and how she’s learned to trust in life’s unfolding—letting creativity inspire all aspects of her path. Guest links: IMDB: Zibby Allen INSTAGRAM: @zibbyloo TWITTER: @zibby_allen MUSIC: I Love You Overall PODCAST: Small Town dicks ISPOT.TV: Zibby Allen PRESS: Deadline: ‘Virgin River’ Renewed For Season 3 By Netflix; Zibby Allen Joins Cast For exclusive content surrounding this and all podcast episodes, sign up for our amazing newsletter at AlyshiaOchse.com. And don't forget to snap and post a photo while listening to the show and tag me (@alyshiaochse)! Show Links: WHAT'S MY FRAME: Learn the basic frames used in filmmaking and how to incorporate them to create dynamic and engaging self-tape auditions. Click here to get $30 off the course INSTAGRAM: @alyshiaochse INSTAGRAM: @thatoneaudition WEBSITE: AlyshiaOchse.com ITUNES: Subscribe to That One Audition on iTunes SPOTIFY: Subscribe to That One Audition on Spotify STITCHER: Subscribe to That One Audition on Stitcher Credits: WRITER: Lizzy Dalla Betta SOUND DESIGN: Zachary Jameson WEBSITE & GRAPHICS: Chase Jennings ASSISTANT: Elle Powell SOCIAL OUTREACH: Bebe Katsenes

The best thing you can say about 2020 is that it was the year that, well, was. In this year-end roundup, Aaron, Sarah and Doug take some listener voice memos and respond to the stories that flew across the War on Cars news desk. Is it a Good Thing or a Bad Thing that Mayor Pete Buttigieg has been named the next Transportation Secretary? What will it mean for the future of the “third space” now that fast food restaurants are ditching indoor dining and retooling their parking lots and drive-thrus to cater to online orders? What's the connection between a massive diesel tampering scandal in America and a landmark public health case in the UK? And what will it take to sustain the pandemic-induced bike boom into next year and beyond? SHOW NOTES: Mayor Pete Buttigieg to become Secretary Pete Buttigieg. (New York Times) $14 billion to help stave off transit cuts… for now. (Bloomberg News) Using a Lincoln Aviator not for driving but as a personal sanctuary. (iSpot.TV) How COVID-19 upended the design of fast food restaurants. (CNN) Failing to credit Sarah Goodyear, Ford CEO Bill Ford says “cars and trucks in some ways are the ultimate personal protective equipment.” (New York Times)  Owners of diesel pickup trucks have been tampering with their vehicles' emissions control technology, “allowing excess emissions equivalent to 9 million extra trucks on the road.” (New York Times) Air pollution a cause of 9-year-old Ella Kissi-Debrah's death, rules UK court. (CNN) How to keep the bike boom from fizzling out. (Andrew J. Hawkins/Verge) This episode was sponsored in part by our friends at Cleverhood. Get 20% off of stylish, functional rain gear designed specifically for walking and biking with coupon code WARONCARS. Support The War on Cars on Patreon for access to bonus episodes, stickers and more. Get an official War on Cars coffee mug and other goodies at our new online store. Buy a War on Cars t-shirt or sweatshirt at Cotton Bureau and check out The War on Cars library at Bookshop.org. Rate and review the podcast on iTunes. This episode was produced and edited by Ali Lemer. Our music is by Nathaniel Goodyear. Our logo is by Dani Finkel of Crucial D. Find us on Twitter: @TheWarOnCars, Aaron Naparstek @Naparstek, Doug Gordon @BrooklynSpoke, Sarah Goodyear @buttermilk1 Questions, comments or suggestions? Send a voice memo of 30 seconds or less to thewaroncars@gmail.com. TheWarOnCars.org

Dr Evian Gordon MD, PhD - Founder and Chairman Brain Resource Company and TotalBrain (2000). Founder of the largest standardized International Brain Database. Scientific Chairman and Founding Director, The Brain Dynamics Centre, Westmead Hospital. Director of BRAINnet.net. • Principal Investigator of the first study (iSPOT) to predict treatment response in Depression. Over 250 peer-reviewed scientific publications. H-Index of over 70. Recipient of the inaugural Royal Societies Eureka Prize for Interdisciplinary Scientific Research (2003). • Published the first book on Integrative Neuroscience, titled: “Integrative Neuroscience: Bringing together biological, psychological and clinical models of the human brain” (Harwood Academic Press: London, 2000). • Brain Database: Over 1 million Datasets from 6-100 years of age and in 10 Brain Disorders and over 40 leading US Corporates (including Boeing, AARP, Cerner). The diverse measures of the brain reflect: Cognition and Emotion; Screening for mental illness; Genetics, Brain Structure and brain function (EEG, ERP, fMRI). • Over 300 scientists and 300 publications are linked to the BRC International consortium and over 250 projects in the USA, Europe and Australia use the International Database via the independent U.S. Foundation BRAINnet.net. Chris Darwin is a great great grandson of Charles Darwin. Early in life his grandmother gave him the advice of his life, ‘If you cannot be first, be different.’ He has a degree in Psychology and Physical Geography. His first career was in advertising. His second was as an adventurer. Two of his expeditions were world firsts. He is on a life quest to bring about global peak meat. He has created The Darwin Challenge, which is an app that shows people the 10 benefits of moderating their meat consumption. He lives in the Blue Mountains of Australia with the love of his life, Jacqui, and their three kids. He cannot believe his luck.Dr David Whitehouse. MD,PhD is a Cambridge University undergraduate, a Harvard trained psychiatrist with over 20 years experience, with leading managed behavior change companies in the US. He also has an MBA from the University of Connecticut and a doctorate in Theology . He has worked with start ups and some of the world's largest organizations with one goal always in mind to make brain insights and care for emotional pain and mental distress more accessible, easier to understand and more impactful.

Dr Evian Gordon MD, PhD - Founder and Chairman Brain Resource Company and TotalBrain (2000). Founder of the largest standardized International Brain Database. Scientific Chairman and Founding Director, The Brain Dynamics Centre, Westmead Hospital. Director of BRAINnet.net. • Principal Investigator of the first study (iSPOT) to predict treatment response in Depression. Over 250 peer-reviewed scientific publications. H-Index of over 70. Recipient of the inaugural Royal Societies Eureka Prize for Interdisciplinary Scientific Research (2003). • Published the first book on Integrative Neuroscience, titled: “Integrative Neuroscience: Bringing together biological, psychological and clinical models of the human brain” (Harwood Academic Press: London, 2000). • Brain Database: Over 1 million Datasets from 6-100 years of age and in 10 Brain Disorders and over 40 leading US Corporates (including Boeing, AARP, Cerner). The diverse measures of the brain reflect: Cognition and Emotion; Screening for mental illness; Genetics, Brain Structure and brain function (EEG, ERP, fMRI). • Over 300 scientists and 300 publications are linked to the BRC International consortium and over 250 projects in the USA, Europe and Australia use the International Database via the independent U.S. Foundation BRAINnet.net. Simon Poidevin AM BSc (UNSW) - (AKA Poido) represented Australian Rugby Union from 1980 to 1992 as a player and as a captain and became the first Australian to play 50 tests for his country. In 1991, Simon was a member of the first Australian team to win the Rugby World Cup. He was a member of the Wallabies side that defeated New Zealand 2–1 in the 1980 Bledisloe Cup series and the 2-1series win in New Zealand in 1986. He toured with the Eighth Wallabies for the 1984 tour of Britain and Ireland that won the "grand slam", the first Australian side to defeat all four home nations, England, Ireland, Wales and Scotland. He made his debut as captain of the Wallabies in a two-Test series against Argentina in 1986 Simon was awarded an OAM in 1988, The Australian Sports Medal in 2000, The Centenary Medal in 2003 and was awarded the Member (AM) in the General Division of the Order of Australia on Australia Day 2018. He was inducted into the Sport’s Australia Hall Of Fame in 1991 and the Australian Rugby Hall Of Fame in 2014. Simon is the President of Total Brain in Australia and New Zealand. Scott “ Razor” Robertson (AKA Razor), has been a professional Rugby player from 1996 to 2007. As a player he won 6 championships with Canterbury and Crusaders in New Zealand. Razor has 8 championships as a head coach, including New Zealand under 21s World Cup Championship in 2014, and 3 consecutive Super Rugby titles with the Crusaders in 2017, 2018 and 2019 followed by a “Covid Competition” win in 2020. Clearly the hottest coach in Rugby Union on the planet at the present time.

Dr Evian Gordon MD, PhD - Founder and Chairman Brain Resource Company and TotalBrain (2000). Founder of the largest standardized International Brain Database. Scientific Chairman and Founding Director, The Brain Dynamics Centre, Westmead Hospital. Director of BRAINnet.net. • Principal Investigator of the first study (iSPOT) to predict treatment response in Depression. Over 250 peer-reviewed scientific publications. H-Index of over 70. Recipient of the inaugural Royal Societies Eureka Prize for Interdisciplinary Scientific Research (2003). • Published the first book on Integrative Neuroscience, titled: “Integrative Neuroscience: Bringing together biological, psychological and clinical models of the human brain” (Harwood Academic Press: London, 2000). • Brain Database: Over 1 million Datasets from 6-100 years of age and in 10 Brain Disorders and over 40 leading US Corporates (including Boeing, AARP, Cerner). The diverse measures of the brain reflect: Cognition and Emotion; Screening for mental illness; Genetics, Brain Structure and brain function (EEG, ERP, fMRI). • Over 300 scientists and 300 publications are linked to the BRC International consortium and over 250 projects in the USA, Europe and Australia use the International Database via the independent U.S. Foundation BRAINnet.net. Chris Darwin is a great great grandson of Charles Darwin. Early in life his grandmother gave him the advice of his life, ‘If you cannot be first, be different.’ He has a degree in Psychology and Physical Geography. His first career was in advertising. His second was as an adventurer. Two of his expeditions were world firsts. He is on a life quest to bring about global peak meat. He has created The Darwin Challenge, which is an app that shows people the 10 benefits of moderating their meat consumption. He lives in the Blue Mountains of Australia with the love of his life, Jacqui, and their three kids. He cannot believe his luck.Dr David Whitehouse. MD,PhD is a Cambridge University undergraduate, a Harvard trained psychiatrist with over 20 years experience, with leading managed behavior change companies in the US. He also has an MBA from the University of Connecticut and a doctorate in Theology . He has worked with start ups and some of the world's largest organizations with one goal always in mind to make brain insights and care for emotional pain and mental distress more accessible, easier to understand and more impactful.Episode is LivePublished: Sep. 14, 2020 @ 7PM EditUnpublishAdd a TranscriptGet episode better indexed by search engines.Add Chapter MarkersListeners can tap through & see what’s coming up.Create a Visual SoundbiteBest way to share to social media for engagement.Share Episode OnFacebookTwitter

Dr Evian Gordon MD, PhD - Founder and Chairman Brain Resource Company and TotalBrain (2000). Founder of the largest standardized International Brain Database. Scientific Chairman and Founding Director, The Brain Dynamics Centre, Westmead Hospital. Director of BRAINnet.net. • Principal Investigator of the first study (iSPOT) to predict treatment response in Depression. Over 250 peer-reviewed scientific publications. H-Index of over 70. Recipient of the inaugural Royal Societies Eureka Prize for Interdisciplinary Scientific Research (2003). • Published the first book on Integrative Neuroscience, titled: “Integrative Neuroscience: Bringing together biological, psychological and clinical models of the human brain” (Harwood Academic Press: London, 2000). • Brain Database: Over 1 million Datasets from 6-100 years of age and in 10 Brain Disorders and over 40 leading US Corporates (including Boeing, AARP, Cerner). The diverse measures of the brain reflect: Cognition and Emotion; Screening for mental illness; Genetics, Brain Structure and brain function (EEG, ERP, fMRI). • Over 300 scientists and 300 publications are linked to the BRC International consortium and over 250 projects in the USA, Europe and Australia use the International Database via the independent U.S. Foundation BRAINnet.net. Chris Darwin is a great great grandson of Charles Darwin. Early in life his grandmother gave him the advice of his life, ‘If you cannot be first, be different.’ He has a degree in Psychology and Physical Geography. His first career was in advertising. His second was as an adventurer. Two of his expeditions were world firsts. He is on a life quest to bring about global peak meat. He has created The Darwin Challenge, which is an app that shows people the 10 benefits of moderating their meat consumption. He lives in the Blue Mountains of Australia with the love of his life, Jacqui, and their three kids. He cannot believe his luck.Dr David Whitehouse. MD,PhD is a Cambridge University undergraduate, a Harvard trained psychiatrist with over 20 years experience, with leading managed behavior change companies in the US. He also has an MBA from the University of Connecticut and a doctorate in Theology . He has worked with start ups and some of the world's largest organizations with one goal always in mind to make brain insights and care for emotional pain and mental distress more accessible, easier to understand and more impactful.

Dr Evian Gordon MD, PhD - Founder and Chairman Brain Resource Company and TotalBrain (2000). Founder of the largest standardized International Brain Database. Scientific Chairman and Founding Director, The Brain Dynamics Centre, Westmead Hospital. Director of BRAINnet.net. • Principal Investigator of the first study (iSPOT) to predict treatment response in Depression. Over 250 peer-reviewed scientific publications. H-Index of over 70. Recipient of the inaugural Royal Societies Eureka Prize for Interdisciplinary Scientific Research (2003). • Published the first book on Integrative Neuroscience, titled: “Integrative Neuroscience: Bringing together biological, psychological and clinical models of the human brain” (Harwood Academic Press: London, 2000). • Brain Database: Over 1 million Datasets from 6-100 years of age and in 10 Brain Disorders and over 40 leading US Corporates (including Boeing, AARP, Cerner). The diverse measures of the brain reflect: Cognition and Emotion; Screening for mental illness; Genetics, Brain Structure and brain function (EEG, ERP, fMRI). • Over 300 scientists and 300 publications are linked to the BRC International consortium and over 250 projects in the USA, Europe and Australia use the International Database via the independent U.S. Foundation BRAINnet.net. Dr David Whitehouse. MD,PhD is a Cambridge University undergraduate, a Harvard trained psychiatrist with over 20 years experience, with leading managed behavior change companies in the US. He also has an MBA from the University of Connecticut and a doctorate in Theology . He has worked with start ups and some of the world's largest organizations with one goal always in mind to make brain insights and care for emotional pain and mental distress more accessible, easier to understand and more impactful.

Dr Evian Gordon is Founder and Chairman Brain Resource Company and TotalBrain (2000). Founder of the largest standardized International Brain Database. Scientific Chairman and Founding Director, The Brain Dynamics Centre, Westmead Hospital. Director of BRAINnet.net. • Principal Investigator of the first study (iSPOT) to predict treatment response in Depression. Over 250 peer-reviewed scientific publications. H-Index of over 70. Recipient of the inaugural Royal Societies Eureka Prize for Interdisciplinary Scientific Research (2003). • Published the first book on Integrative Neuroscience, titled: “Integrative Neuroscience: Bringing together biological, psychological and clinical models of the human brain” (Harwood Academic Press: London, 2000). • Brain Database: Over 1 million Datasets from 6-100 years of age and in 10 Brain Disorders and over 40 leading US Corporates (including Boeing, AARP, Cerner). The diverse measures of the brain reflect: Cognition and Emotion; Screening for mental illness; Genetics, Brain Structure and brain function (EEG, ERP, fMRI). • Over 300 scientists and 300 publications are linked to the BRC International consortium and over 250 projects in the USA, Europe and Australia use the International Database via the independent U.S. Foundation BRAINnet.net. Chris Darwin is a great great grandson of Charles Darwin. Early in life his grandmother gave him the advice of his life, ‘If you cannot be first, be different.’ He has a degree in Psychology and Physical Geography. His first career was in advertising. His second was as an adventurer. Two of his expeditions were world firsts. He is on a life quest to bring about global peak meat. He has created The Darwin Challenge, which is an app that shows people the 10 benefits of moderating their meat consumption. He lives in the Blue Mountains of Australia with the love of his life, Jacqui, and their three kids. He cannot believe his luck.

Are you getting questions from leadership about whether or not you could make TV work for your organization? Or maybe you think now is the time to take the leap but you don't have puppies, kittens, or millions of dollars to invest so you think it's off the table?I'm joined by Adrian White Slagle of Full Hearts who shares her extensive experience in the channel and demystifies some of the less visible aspects of a successful TV program. We talk about audiences, investments, creative and how changes in media delivery might make taking the leap more possible now than ever before.Resources:IAB (Interactive Advertising Bureau). Their mission is to empower the media and marketing industries to thrive in the digital economy. This is an important resource for performance-based marketers to find info and "keep up" with the evolution of marketing:https://www.iab.com/ iSpot.tv is a great resources for exploring what kind of creative is out there. There are DR and brand advertising spots as well as PSAs. https://www.ispot.tv/browse Full Hearts was founded in September 2019 and is made up of a team of professionals with an average of 20 years experience, each. With direct marketing and brand advertising backgrounds on both the nonprofit and commercial side, this hybrid agency structure brings the best of two worlds to clients to meet their individual needs: a focused, dedicated core team plus expansive agency resources through partnerships.http://withfullhearts.com/

A ripple effect was seen with respect to year-over-year spending trends, and impressions, for restaurant advertisers. But, some interesting insights can be seen with respect to ad impressions. The SVP of Media Partnerships at iSpot.tv shares his company's latest research in this RBR+TVBR Coronavirus INFOCUS podcast hosted by Editor-in-Chief Adam R Jacobson.

Founder and Chairman Brain Resource Company and TotalBrain (2000). Founder of the largest standardized International Brain Database. Scientific Chairman and Founding Director, The Brain Dynamics Centre, Westmead Hospital. Director of BRAINnet.net. • Principal Investigator of the first study (iSPOT) to predict treatment response in Depression. Over 250 peer-reviewed scientific publications. H-Index of over 70. Recipient of the inaugural Royal Societies Eureka Prize for Interdisciplinary Scientific Research (2003). • Published the first book on Integrative Neuroscience, titled: “Integrative Neuroscience: Bringing together biological, psychological and clinical models of the human brain” (Harwood Academic Press: London, 2000). • Brain Database: Over 1 million Datasets from 6-100 years of age and in 10 Brain Disorders and over 40 leading US Corporates (including Boeing, AARP, Cerner). The diverse measures of the brain reflect: Cognition and Emotion; Screening for mental illness; Genetics, Brain Structure and brain function (EEG, ERP, fMRI). • Over 300 scientists and 300 publications are linked to the BRC International consortium and over 250 projects in the USA, Europe and Australia use the International Database via the independent U.S. Foundation BRAINnet.net.

Dr Evian Gordon is Founder and Chairman Brain Resource Company and TotalBrain (2000). Founder of the largest standardized International Brain Database. Scientific Chairman and Founding Director, The Brain Dynamics Centre, Westmead Hospital. Director of BRAINnet.net. • Principal Investigator of the first study (iSPOT) to predict treatment response in Depression. Over 250 peer-reviewed scientific publications. H-Index of over 70. Recipient of the inaugural Royal Societies Eureka Prize for Interdisciplinary Scientific Research (2003). • Published the first book on Integrative Neuroscience, titled: “Integrative Neuroscience: Bringing together biological, psychological and clinical models of the human brain” (Harwood Academic Press: London, 2000). • Brain Database: Over 1 million Datasets from 6-100 years of age and in 10 Brain Disorders and over 40 leading US Corporates (including Boeing, AARP, Cerner). The diverse measures of the brain reflect: Cognition and Emotion; Screening for mental illness; Genetics, Brain Structure and brain function (EEG, ERP, fMRI). • Over 300 scientists and 300 publications are linked to the BRC International consortium and over 250 projects in the USA, Europe and Australia use the International Database via the independent U.S. Foundation BRAINnet.net.

Founder and Chairman Brain Resource Company and TotalBrain (2000). Founder of the largest standardized International Brain Database. Scientific Chairman and Founding Director, The Brain Dynamics Centre, Westmead Hospital. Director of BRAINnet.net. • Principal Investigator of the first study (iSPOT) to predict treatment response in Depression. Over 250 peer-reviewed scientific publications. H-Index of over 70. Recipient of the inaugural Royal Societies Eureka Prize for Interdisciplinary Scientific Research (2003). • Published the first book on Integrative Neuroscience, titled: “Integrative Neuroscience: Bringing together biological, psychological and clinical models of the human brain” (Harwood Academic Press: London, 2000). • Brain Database: Over 1 million Datasets from 6-100 years of age and in 10 Brain Disorders and over 40 leading US Corporates (including Boeing, AARP, Cerner). The diverse measures of the brain reflect: Cognition and Emotion; Screening for mental illness; Genetics, Brain Structure and brain function (EEG, ERP, fMRI). • Over 300 scientists and 300 publications are linked to the BRC International consortium and over 250 projects in the USA, Europe and Australia use the International Database via the independent U.S. Foundation BRAINnet.net.

Founder and Chairman Brain Resource Company and TotalBrain (2000). Founder of the largest standardized International Brain Database. Scientific Chairman and Founding Director, The Brain Dynamics Centre, Westmead Hospital. Director of BRAINnet.net. • Principal Investigator of the first study (iSPOT) to predict treatment response in Depression. Over 250 peer-reviewed scientific publications. H-Index of over 70. Recipient of the inaugural Royal Societies Eureka Prize for Interdisciplinary Scientific Research (2003). • Published the first book on Integrative Neuroscience, titled: “Integrative Neuroscience: Bringing together biological, psychological and clinical models of the human brain” (Harwood Academic Press: London, 2000). • Brain Database: Over 1 million Datasets from 6-100 years of age and in 10 Brain Disorders and over 40 leading US Corporates (including Boeing, AARP, Cerner). The diverse measures of the brain reflect: Cognition and Emotion; Screening for mental illness; Genetics, Brain Structure and brain function (EEG, ERP, fMRI). • Over 300 scientists and 300 publications are linked to the BRC International consortium and over 250 projects in the USA, Europe and Australia use the International Database via the independent U.S. Foundation BRAINnet.net.

Founder and Chairman Brain Resource Company and TotalBrain (2000). Founder of the largest standardized International Brain Database. Scientific Chairman and Founding Director, The Brain Dynamics Centre, Westmead Hospital. Director of BRAINnet.net. • Principal Investigator of the first study (iSPOT) to predict treatment response in Depression. Over 250 peer-reviewed scientific publications. H-Index of over 70. Recipient of the inaugural Royal Societies Eureka Prize for Interdisciplinary Scientific Research (2003). • Published the first book on Integrative Neuroscience, titled: “Integrative Neuroscience: Bringing together biological, psychological and clinical models of the human brain” (Harwood Academic Press: London, 2000). • Brain Database: Over 1 million Datasets from 6-100 years of age and in 10 Brain Disorders and over 40 leading US Corporates (including Boeing, AARP, Cerner). The diverse measures of the brain reflect: Cognition and Emotion; Screening for mental illness; Genetics, Brain Structure and brain function (EEG, ERP, fMRI). • Over 300 scientists and 300 publications are linked to the BRC International consortium and over 250 projects in the USA, Europe and Australia use the International Database via the independent U.S. Foundation BRAINnet.net.

Founder and Chairman Brain Resource Company and TotalBrain (2000). Founder of the largest standardized International Brain Database. Scientific Chairman and Founding Director, The Brain Dynamics Centre, Westmead Hospital. Director of BRAINnet.net. • Principal Investigator of the first study (iSPOT) to predict treatment response in Depression. Over 250 peer-reviewed scientific publications. H-Index of over 70. Recipient of the inaugural Royal Societies Eureka Prize for Interdisciplinary Scientific Research (2003). • Published the first book on Integrative Neuroscience, titled: “Integrative Neuroscience: Bringing together biological, psychological and clinical models of the human brain” (Harwood Academic Press: London, 2000). • Brain Database: Over 1 million Datasets from 6-100 years of age and in 10 Brain Disorders and over 40 leading US Corporates (including Boeing, AARP, Cerner). The diverse measures of the brain reflect: Cognition and Emotion; Screening for mental illness; Genetics, Brain Structure and brain function (EEG, ERP, fMRI). • Over 300 scientists and 300 publications are linked to the BRC International consortium and over 250 projects in the USA, Europe and Australia use the International Database via the independent U.S. Foundation BRAINnet.net.

Founder and Chairman Brain Resource Company and TotalBrain (2000). Founder of the largest standardized International Brain Database. Scientific Chairman and Founding Director, The Brain Dynamics Centre, Westmead Hospital. Director of BRAINnet.net. • Principal Investigator of the first study (iSPOT) to predict treatment response in Depression. Over 250 peer-reviewed scientific publications. H-Index of over 70. Recipient of the inaugural Royal Societies Eureka Prize for Interdisciplinary Scientific Research (2003). • Published the first book on Integrative Neuroscience, titled: “Integrative Neuroscience: Bringing together biological, psychological and clinical models of the human brain” (Harwood Academic Press: London, 2000). • Brain Database: Over 1 million Datasets from 6-100 years of age and in 10 Brain Disorders and over 40 leading US Corporates (including Boeing, AARP, Cerner). The diverse measures of the brain reflect: Cognition and Emotion; Screening for mental illness; Genetics, Brain Structure and brain function (EEG, ERP, fMRI). • Over 300 scientists and 300 publications are linked to the BRC International consortium and over 250 projects in the USA, Europe and Australia use the International Database via the independent U.S. Foundation BRAINnet.net.

In this episode, Madrona Managing Director, Len Jordan, sits down with iSpot.tv founder, Sean Muller to talk over his journey from wanting to know more about who was responsible for the creative in ads to tying effective advertising to business outcomes.  Sean’s journey is like many in entrepreneurship – you begin with a great idea, buck some trends (and advice) and then find your true path once you start executing. Sean talks about finding the product market fit for iSpot.tv – and seeing the future clearly enough to bet the company on one big partnership. 

Join Dr. Evian Gordon and Kristin Walker to discuss how revolutionizing the brain impacts your mental health! Dr. Gordon is the Founder and Chairman of Brain Resource Company and TotalBrain (2000). Founder of the largest standardized International Brain Database. Scientific Chairman and Founding Director, The Brain Dynamics Centre, Westmead Hospital. Director of BRAINnet.net.He is the Principal Investigator of the first study (iSPOT) to predict treatment response in Depression. Over 250 peer-reviewed scientific publications. H-Index of over 70. Recipient of the inaugural Royal Societies Eureka Prize for Interdisciplinary Scientific Research (2003). He also published the first book on Integrative Neuroscience, titled: “Integrative Neuroscience: Bringing together biological, psychological and clinical models of the human brain” (Harwood Academic Press: London, 2000). The Brain Database has over 1 million Datasets from 6-100 years of age and in 10 Brain Disorders and over 40 leading US Corporates (including Boeing, AARP, Cerner). The diverse measures of the brain reflect: Cognition and Emotion; Screening for mental illness; Genetics, Brain Structure and brain function (EEG, ERP, fMRI). Over 300 scientists and 300 publications are linked to the BRC International consortium and over 250 projects in the USA, Europe and Australia use the International Database via the independent U.S. Foundation www.BRAINnet.net.

Although we did not watch the superbowl (yep, still boycotting) we did go to iSpot.TV to watch the ads. Here are the 5 million dollar hits and misses. 

Thanks to the generosity of Kantar Media, ITVT is pleased to make available free of charge an audio recording of the TVOT SF 2018 session, "TV Data of Today." The session was described in the show brochure as follows:"Smart TVs are predicted to be in 75% of all American homes within the next three years and the Automatic Content Recognition (ACR) data from those smart TVs is changing the way the industry looks at measurement. ACR data, which measures viewing from any and every device, is being used to power everything from multitouch attribution to dynamic ad insertion on linear TV. This panel will look at how ACR data is shaking up the industry, who the major players are, how the industry is dealing with privacy concerns and what the future of measurement will look like." Panelists included:Jonathan Bokor, 2018 AdMonsters Power List HonoreeJason Bolles, Managing Director, Video Personalization, GracenoteCathy Hetzel, Executive Vice President, comScoreSean Muller, CEO, iSpot.tvZeev Neumeier, Founder, InscapeVik Sharma, SVP of Client Leadership, Kantar MediaAlan Wolk, Co-Founder/Lead Analyst, TV[R]EV (Moderator) (Note: Our next TV of Tomorrow Show event, TVOT NYC 2018, will take place December 6th. Purchase your tickets herebefore midnight this Friday to receive the Super-Early-Bird Discount--a 40% savings on the regular price!) 

Założyciel firmy „Bariera Dźwięku” i współ­za­ło­ży­ciel „Inte­li­dom”. Firmy zajmują się wdrażaniem multimediów w fabrycznie nowych autach (m.in. Mitsubishi czy Hyundai), w luksusowych apartamentach i w sklepach (m.in. iSpot czy Olsen). Wojtek to biznesowy samouk, miłośnik gadżetów, MMA i spełniony mąż i tata dwójki dzieci.Wojtek bardzo chroni swoją prywatność i niewiele można o nim się dowiedzieć z internetu. W rozmowie opowiedział o tym jak zdobywał pierwszych klientów przez Allegro i przyjmował ich w przydomowym garażu. O tym co sprawia, że ludzie inwestują ponad milion złotych w sprzęt audio-wideo. Jak budował firmę od liceum i przez studia. Co sprawia, że ufają mu najbardziej wymagający inwestorzy. Czego nauczył się z nieudanej inwestycji i dlaczego się nie poddał. A także o MMA i innych sportach i byciu tatą.Transkrypcja, wideo i dodatkowe linki: https://gregalbrecht.io/wojteklekkiDołącz do klubu Greg Albrecht Podcast: https://gregalbrecht.io/klub

Założyciel firmy „Bariera Dźwięku” i współ­za­ło­ży­ciel „Inte­li­dom”. Firmy zajmują się wdrażaniem multimediów w fabrycznie nowych autach (m.in. Mitsubishi czy Hyundai), w luksusowych apartamentach i w sklepach (m.in. iSpot czy Olsen). Wojtek to biznesowy samouk, miłośnik gadżetów, MMA i spełniony mąż i tata dwójki dzieci.Wojtek bardzo chroni swoją prywatność i niewiele można o nim się dowiedzieć z internetu. W rozmowie opowiedział o tym jak zdobywał pierwszych klientów przez Allegro i przyjmował ich w przydomowym garażu. O tym co sprawia, że ludzie inwestują ponad milion złotych w sprzęt audio-wideo. Jak budował firmę od liceum i przez studia. Co sprawia, że ufają mu najbardziej wymagający inwestorzy. Czego nauczył się z nieudanej inwestycji i dlaczego się nie poddał. A także o MMA i innych sportach i byciu tatą.Transkrypcja, wideo i dodatkowe linki: https://gregalbrecht.io/wojteklekkiDołącz do klubu Greg Albrecht Podcast: https://gregalbrecht.io/klub

Sean Muller is Founder and CEO of iSpot.tv, a Seattle-based provider of real-time attention and conversion analytics for TV advertising. In this recorded interview with ITVT Editor-in-Chief, Tracy Swedlow, he provides an overview of recent developments at iSpot.tv--which include a 7.5-year deal with Vizio's data business, Inscape, that significantly broadens its rights to use the latter's data. He also casts light on the current state of the advanced-TV advertising and measurement ecosystem and on the role that iSpot.tv plays in it.(Note: the next TV of Tomorrow Event, TVOT SF 2018, will take place June 13th-14th in San Francisco. Tickets are currently available at the Super-Early-Bird rate of $775, representing a 40% discount on the full price. Purchase your tickets here: http://tvotshow.com/register-tvot.)

This episode opens with an interesting discovery about the messages app then quickly veers into popular culture, and almost as quickly back to food safety. Food safety talk on rice and Bacillus cereus is followed by a discussion of the Salmonella in truffle oil outbreak at Fig & Olive restaurants. The discussion then turns to recalls and when to go public. A recent Listeria recall linked to cheese made from pasteurize milk leads to talk about raw milk, followed by a brief segue into North Carolina life, and then on to a recent Lysol ad, and the five second rule. The show wraps up with a discussion of recipe safety, followed by what Ben thinks might be the best after dark ever. Show notes so you can follow along at home: Coolio- Gangster's Paradise Weird Al Yankovic - Amish Paradise Dangerous Minds More Life by Drake TypeShift on the App Store @MerriamWebster Leftover Rice Could Make You Very Sick Prevalence, characterization and growth of Bacillus cereus in commercial cooked chilled foods containing vegetables Investigation of Salmonella Enteritidis Outbreak Associated with Truffle Oil — District of Columbia, 2015 Fig & Olive on barfblog Fig & Olive Settles Majority of Salmonella Poisoning Cases Going public: Why FDA doesn’t share retail outlet information (but should) Bill Hallman, Rutgers University Sargento Cheese Recalled - Colby Cheese Contaminated With Listeria Like Russian Roulette? Try Raw Milk David Gumpert Pod Save America NC woman’s wedding dress accidentally donated to Goodwill Dueling Banjos American Standard Toilet: VorMax “Splatter” Lysol Kitchen Pro TV Commercial, 'Five-Second Rule' - iSpot.tv Lysol and the FTC Yeast Waffles Recipe - Allrecipes.com Evaluating food safety risk messages in popular cookbooks The Checklist Manifesto: How to Get Things Right: Atul Gawande Steve Jobs "BOOM" complete compilation (1992-2010) - YouTube I Love LA, Randy Newman Recipes Just Got Safe with Our New Online Tool Page Not Found | FoodSafety.gov AirPods - Apple Aloksak Durable Film Bags

Welcome! My guest today is Dr. Jay Davidson, who is a doctor of natural functional medicine---AND a fellow Milwaukeean! He specializes in heavy metal detoxification and Lyme disease, treating these disorders from a natural perspective. Jay is a #1 national best-selling author, a husband, father, speaker, church elder, and former radio talk show host. He is hosting the Chronic Lyme Disease Summit coming up in April. Let’s talk to Dr. Jay! Our conversation covers the following: Dr. Jay got involved in Lyme disease treatment because his wife contracted the disease at age 7 and experienced brain swelling, a coma, and many health issues. After giving birth to their daughter almost four years ago, Mrs. Davidson went through a life or death health crisis; this began his intense focus on Lyme treatment. Dr. Jay explains the iSpot, his favorite test for Lyme and a tool for understanding the diagnosis. In the healing approach for Lyme, diet and food are #1. In 2007, Jay and his wife explored testing for heavy metal toxicity. Intermittent fasting and block fasting are techniques that bring success to some Lyme disease. His wife reacted to almost every food except bone broth; she eventually added vegetables back in to her diet, especially avocados, green leafy vegetables, and bell peppers. Jay discusses three things that cause inflammation in the body: Sugar, and grains that turn to sugar Bad fats like vegetable oils Toxins such as heavy metals and mold Besides decreasing the intake of carbohydrates, there are things we should increase in our diets, like healthy fats, vegetable juices, bone broth fasting, and short-term ketogenic diets. “Our bodies are not meant to eat ONE way forever!” Dr. Jay discusses ketosis, which is limiting carbs to 30g/day or less. Perimenopausal and menopausal  women have trouble going into ketosis, so Dr. Jay advises repeating the process to stoke the body for success. He explains. Some people have success and can stay in ketosis for a few months, as they increase carbs up to 50g/day and even to 100-150g for one day weekly. Dr. Jay discusses SIBO—small intestinal bacteria overgrowth. Most digestive bacteria should stay in the large intestine, not the small. SIBO symptoms can be limited by using bone broth to starve the bad bacteria and limiting fiber and sugar. Jay shares his favorite bone broth recipe, using bones, apple cider vinegar, water, Himalayan sea salt, garlic, onions, and spices. If SIBO isn’t a problem, then veggies can be added into the bone broth. In the modern diet, going gluten-free is not enough! We all should limit foods that cause blood sugar spikes and stay away from grains. Dr. J leaves us with two tips: The missing piece in the modern diet? Fresh herbs! Cut out sugar! “The American addiction is unreal!” How to Reach Dr. Jay and more: www.chroniclymediseasesummit.com  See the list of speakers and topics for the Summit, coming April 4-11, 2016!  Sign up for the summit at www.dranh.com/lyme.  Now it’s your turn!   WHAT changes have you made in your diet?  HOW have those changes affected your health?  WHAT has been your biggest challenge while implementing a healthy lifestyle?  WHO do you want to hear from?   Let me know in the comments below and I will try my best to get them on the show!  I want to answer your burning questions and for YOU to add your thoughts to the conversation.  So go ahead and leave a comment now.     And if you want even more resources to heal yourself naturally, make sure you sign up for my email updates, because I share some insights in my email updates that I don’t share anywhere else.   Thanks so much for stopping by and until next time, remember to eat consciously, because the world needs a healthy and vibrant you! BECOME A FOOD AS MEDICINE VIP FOR FREE.  ENTER YOUR EMAIL BELOW AND RECEIVE: My free gift, “The Clean Eating Rules.” It’s my #1 guide for how to eat to lose weight, improve your biometrics, and get more energy. Summary of Pearls shared on the show Occasional Love Letters from Dr. Anh, where I share my favorite recipes and products, upcoming events, new information I’ve learned, and other goodies ☺          

A guided tour of the key features of iSpot.org.uk, showing how people of all ages can contribute to this database of biodiversity.

Transcript -- A guided tour of the key features of iSpot.org.uk, showing how people of all ages can contribute to this database of biodiversity.

Transcript -- A guided tour of the key features of iSpot.org.uk, showing how people of all ages can contribute to this database of biodiversity.

A guided tour of the key features of iSpot.org.uk, showing how people of all ages can contribute to this database of biodiversity.

Ich habe es versprochen und ich halte mein Wort. Das versprochene Interview mit der iSpot Crew ist online. Eine lange aber auch sehr informative MacUnplugged Folge. Kurz gesagt, alles was Ihr schon immer wissen wolltet über Apple und Polen. Wer kauft Apple Produkte, was verkauft sich gut, wer Arbeitet für Apple und was muss man dafür machen, was für Manschen sind das, Apple Special Events und noch vieles mehr. Fotos findet Ihr wie üblich in der Fotogalerie auf www.macunplugged.de In Hinblick auf die Freundlichkeit mit der ich während des Interviews überhäuft wurde, möchte ich mich noch einmal bei der iSpot Magnolia Park Crew bedanken. Es hätte mir nicht einmal halb so viel Spaß bereitet, wenn nicht die netten Menschen. Genug aber mit den "Oooooo" und "Ahhhhh", es geht los also viel Spaß Ihr Besessenen ;) und Think Different.

Heute eine Überraschung :) Eine Folge von einer Eröffnung eines neuen iSpot Geschäfts hier in Polen. Fotos zu dieser Premiere und zu meinem anderen Ausflug nach iSpot in Breslau/Wrocław findet ihr in der Fotogalerie auf www.macunplugged.de Wie war es, wie war die Bedienung und was bedeutet Apple Premium Reseller? Der iSpot in Gliwice ist eben so ein Premium Reseller Store. Das alles und noch mehr in dieser Folge also hört rein :)

Wie versprochen und angekündigt ich war in Breslau/Wrocław und ich besuchte ein Apple Geschäft wie man sie in Polen finden kann also iSpot. Auf meiner Homepage findet ihr Fotos zu dieser Folge.

Main Topic: Community Mapping. News: HyperMaps Atlas, iSpot at MIT, Yahoo! Maps beta, GeoMedia to include 3D