Podcast appearances and mentions of John Bowman

For our second episode of year six of the podcast, we welcome my friend John Bowman to the podcast. I can't say enough positive things about what John is doing with the CAIA Association (as well as his predecessor Bill Kelly), both of whom put investors first, which is what this podcast is all about. John stepped in as CEO at the beginning of 2025 and we thought it would be great to hear his vision for where alternative investing is headed over the next decade. John is a speaker, writer, commentator and frequently keynoting industry conferences and has been featured in the WSJ, NYT, Pension and Investments, Financial Advisor, CNBC and more. John earned a BS in Business Administration from Mary Washington College and is a CFA charter holder, which is how we have known John for so long. In this episode, we discuss past CEO Bill Kelly, miles traveled over the past year, the future of CAIA, liquidity budgets for investors and how to size an allocation to alternatives, the private/public convergence, tokenization of private assets, and more. Today's hosts are Steve Curley, CFA (Founder & Co-Managing Principal of 55 North Private Wealth) & co-host  Kevin Laake, CFA, CAIA (Team Lead at Mariner Institutional). Both of us are past Presidents of CFA Society Orlando. It is worth noting that Kevin serves as a Chapter Executive for CAIA Florida, which is why I thought he would be great as a co-host for this episode. Please enjoy the episode. You can follow us on Twitter & LinkedIn or at investorsfirstpodcast.com   Show Notes: · From Vision to Action: CAIA's CEO on Shaping Tomorrow's Industry (https://caia.org/blog/2025/01/14/vision-action-caias-ceo-shaping-tomorrows-industry) · Capital Decanted Podcast (https://caia.org/capital-decanted-podcast) · Caia.org · CFA stackable program (https://caia.org/stackable)

rWotD Episode 2831: The Apparition (play) Welcome to Random Wiki of the Day, your journey through Wikipedia’s vast and varied content, one random article at a time.The random article for Sunday, 2 February 2025 is The Apparition (play).The Apparition: or, The Sham Wedding is a 1713 British comedy play written by an anonymous author.It premiered at the Theatre Royal, Drury Lane in London. The original cast included Henry Norris as Sir Tristram Getall, William Bullock as Sir Thomas Etherside, John Bowman as Mendwell, Barton Booth as Welford, John Mills as Friendly, James Spiller as Foist, George Pack as Plotwell, Susanna Mountfort as Aurelia, Hester Santlow as Clarinda and Margaret Saunders as Buisy.This recording reflects the Wikipedia text as of 00:07 UTC on Sunday, 2 February 2025.For the full current version of the article, see The Apparition (play) on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Stephen.

In this season finale of Educational Alpha, host Bill Kelly welcomes John Bowman, the incoming CEO of CAIA Association. Reflecting on the evolution of CAIA and their professional journeys, the two explore major themes shaping the investment landscape—diversification, digitization, and democratization. They discuss the organization's transition from Bill's tenure to John's, emphasizing CAIA's mission to educate and advocate for better portfolio construction, transparency, and investor outcomes. Bowman also lays out a roadmap for CAIA's future, highlighting challenges and opportunities within a rapidly evolving financial ecosystem. This conversation is not only a handover of leadership but also a deep dive into the principles driving the Association forward. Listen in!

Welcome back to season 2 of Capital Decanted… well, almost! John Bowman, CFA teases the episode and the “greatest asset in investing” – can you guess what it is? Find out on September 30!

John Bowman, Executive Vice President for U.S. Tobacco Programs at the Campaign for Tobacco-Free Kids, sounds the alarm about the tobacco industry's relentless drive to encourage young people to use their products; Kayley Humm, ASTHO Senior Analyst on the Overdose Prevention Team, says there is some encouraging news about the rate of overdose deaths;  ASTHO continues its celebration of Asian American and Pacific Islander Heritage Month; and learn how to promote healthy aging as a public health priority in an ASTHO learning module now online. ASTHO Legislative Prospectus: Tobacco and Nicotine Products – The Unwavering Public Health Crisis CDC Webpage: Provisional Drug Overdose Death Counts ASTHO Webpage: Integrating Healthy Aging into Public Health  

For about 60 years, a chilling story about a murder suicide was a tight lipped family secret until author and journalist Joe Strupp came across the tale of his great uncle, John Bowman. Strupp spent years investigating the case and his findings are in his new book Death on St. Charles Street. Though we know what happened, there are still mysterious aspects of this tragedy.  Strupp also addresses the unsolved murder that is the basis of his other true crime book, A Long Walk Home.    Find the book here: http://joestrupp.com/, https://shorturl.at/cptQY   Subscribe to "A Study of Strange" on your favorite podcast platform! Visit our substack for more strange content! https://astudyofstrange.substack.com/ Theme Music by Matt Glass Instagram: @astudyofstrange Support: astudyofstrange.substack.com Website: www.astudyofstrange.com Hosted by Michael May Email stories, comments, or ideas to astudyofstrange@gmail.com Support our new Substack https://astudyofstrange.substack.com/   ©2022 Convergent Content, LLC

If you're a leader and you don't have the skill, then you are on a one-way track to misery, burnout, low productivity from your team, and all kinds of disaster stuff for your business. I'm here today with leadership expert, John Bowman, and he is about to save you from a lot of pain in your business!// If you're looking for exactly what it takes to succeed as an executive, then you're in the right place!So much of it comes down to becoming excellent at communication.In fact, Warren Buffet famously said,  “You can improve your value by 50% by learning communication skills or public speaking.”That's why Harrison and his wife, Eileen, created Speaking School™, so you can leverage effective communication to get anything you want from life.   For more, go to https://www.speakingschool.com/?el=hw-show and grab the Elite Business Success Toolkit for free just for trying out our Speaking School™ membership.

On this week of Serious Privacy, Dr. K Royal of Crawford & Company is joined by our featured guest-host Ralph O'Brien on location at the IAPP UK Intensive in London. Paul Breitbarth of Catawiki is traveling. Ralph and K were able to catch up with some amazing privacy all-stars starting with Robert Bateman, quickly followed by Marie Penot, Joe Jones, John Bowman of IBM now, Liz Smith of DPOrganizer, and Kate Colleary. Join us for a lively discussion with some pretty amazing people - hear what they consider the hottest new privacy development, what they took away from IAPP, and then - just general privacy conversation featuring #DPIAs, #AI, #consent, and more. If you have comments or questions, find us on LinkedIn, Twitter/Mastodon @podcastprivacy @euroPaulB @heartofprivacy and email podcast@seriousprivacy.eu. Rate and Review us! Proudly sponsored by TrustArc. Learn more about the TRUSTe Data Privacy Framework verification. upcoming webinars.#heartofprivacy #europaulb #seriousprivacy #privacy #dataprotection #cybersecuritylaw #CPO #DPO #CISO

So many leaders are focused on vision, strategic planning, cascading communication, all these management skills. But what if this one area of your leadership management is actually more significant than any of the rest, and maybe you've been ignoring it to your own peril?In this episode, I've got leadership expert, John Bowman with us, and we are going to discuss this one topic that could change the game of your business.For more from John Bowman, follow him here:https://linktr.ee/john_bowman// If you're looking for exactly what it takes to succeed as an executive, then you're in the right place!So much of it comes down to becoming excellent at communication. In fact, Warren Buffet famously said,  “You can improve your value by 50% by learning communication skills or public speaking.” That's why Harrison and his wife, Eileen, created Speaking School™, so you can leverage effective communication to get anything you want from life.   For more, go to https://www.speakingschool.com/?el=hw-show and grab the Elite Business Success Toolkit for free just for trying out our Speaking School™ membership.

John Bowman is President of the Chartered Alternative Investment Analyst (CAIA) Association. In this episode we look back at the growth of the alternative investment industry, in particular private equity, discuss ESG and take a look at the upcoming paper on the total portfolio approach Overview of podcast with John Bowman, CAIA 02:00 I got involved in international equity investing through a few Boston wealth managers at SSGA. 6:45 I'm integrated by the power of capital allocation to solve some of the world's problems 08:00 At the CFA Institute, I often found myself on the same stage as the CAIA executives 10:00 The term ‘alternatives' is a term that CAIA wants to make extinct 16:00 On the growth of alternatives: We've got this ecosystem now where companies can stay private for longer or even permanently now, that investors can take advantage of 17:00 The first generation of private equity relied a lot on leverage, but that is not the case anymore. Investors won't stand for financial engineering 23:00 Public governance models in the US tend to be pretty hands on…, even meddling if I might say 24:00 CAIA papers: 'Portfolio of the Future', 2022 (https://caia.org/portfolio-for-the-future) and 'The Next Decade of Alternative Investments', 2020 (https://caia.org/next-decade) 24:30 Most practitioners under 40, who analysis investments, have only operated in an environment where there was zero cost of capital, non-existent inflation and double digit capital market returns. But this environment was not normal 26:30 The best kept secret in investing 29:00 Knowledge management and operational alpha 32:30 AI is likely to be the next supercycle, but… 37:00 I don't think we can outsource our fiduciary responsibilities to the machine just yet 40:00 Do we need to disentangle ESG and look closer at the underlying factors and how they affect clients, because you can't average out ESG factors? 42:00 Upcoming paper on the total portfolio approach with input from CPPIB, Future Fund, GIC and New Zealand Super 46:00 Launch on 19 March 47:00 TPA changes the role of portfolio managers

Pastors Kent and Candy Christmas of Regeneration Nashville present The Christmas Family & Friends Christmas Special 2023. Special guests include; The Isaacs, Geron Davis & Kindred Souls, Higher Ground, Jasmine Christmas Brady, Rebecca Lynn Howard, John Bowman, Burton Gaar and many more. www.regenerationnashville.org

Dive right into the world of competitive golf with our guests on this episode! We kick things off with Robert Benavides, the D Flight Senior Amateur Tour National Champion from the Columbus tour, who gives us an insider's look at his triumphant run in both the Senior Amateur Tour and the Golfweek Amateur Tour National Championships. Are you curious about what keeps a golfer motivated when they're playing eight rounds back-to-back? Robert spills the beans on his endurance strategy, and his perspective on the Cupp and Hilton Head Country Club  Courses. We then switch gears to chat with John Bowman from the Charlotte tour, the C Flight National Champion. Hear about his signature low round of 82 at the Arthur Hills course in Palmetto Dunes and his playoff experience at the Senior Amateur Tour National Championship. We wrap up the episode with insights from Mike Dowless, the A flight Senior Amateur Tour National Champion from the Eastern, North Carolina tour. Hear about his plans for the coming year, his time in the competitive golfing arena, and his recent national championship title. Mike opens up about his recent health struggles and how he almost didn't make it to the National Championship.  This episode serves as a testament to the strength, resilience, and strategic brilliance of senior golfers. Buckle up for a riveting conversation, packed with tales of triumph, strategy, and love for the game!If you have questions, send them to us at:Tim - TimNATC@amateurgolftour.netChris - elpaso@amateurgolftour.net Golfweek Amateur TourSenior Amateur TourFacebookYouTube

Providing education, care, love, and some respite from our children, creches in Ireland come in various forms from family-run to businesses with multiple locations.But how has the sector changed and what pressures are creche owners facing?Joining Bobby to discuss is:Paula Donoghue, Owner of Clever Clogs in Cavan and National Secretary of the Association of Childhood Professionals.John Bowman, Owner of Bel Childcare in CorkKaren Clince, CEO Of Tigers Childcare and the Chairperson of Fingal County Childcare Committee

In this inaugural episode of Alternative Allocations, host Tony Davidow interviews John Bowman from the CAIA Association (CAIA), discussing “The State of the Alts Industry.” According to research conducted by CAIA, over the last twenty years, total investable assets allocated to alternative investments have increased 150% with alternatives now representing about 15% of the total investable universe. Davidow and Bowman discuss the “democratization” of alternatives and lessons learned from institutions. They discuss the growth of alternatives across the wealth management community, and the confluence of events that make this an ideal time to consider allocating to alternatives – the current market environment, product innovation, and access to institutional-quality managers. John serves as Executive Vice President for the CAIA Association, overseeing the industry-leading CAIA charter, thought leadership and content development, and CAIA's Asia Pacific strategy. John has devoted over 20 years to the asset management industry to recover the narrative of the value that the investment profession brings to society. John previously served as Managing Director for the Americas for CFA Institute and as a portfolio manager at Mellon Growth Advisors (MGA) and State Street Global Advisors (SSgA).  John is a prolific writer and commentator, frequently appearing in industry and business publications such as the Wall Street Journal, The New York Times, Pension and Investments, Financial Advisor, The Independent, Wealthmanagement.com and CNBC, and various podcasts.   CAIA - Chartered Alternative Investment Analyst Association John L Bowman, CFA | LinkedIn Alternatives by Franklin Templeton The cost of being too liquid white paper Tony Davidow, CIMA® | LinkedIn    

Some real stars of the bluegrass music scene are featuring in today's programme. Ricky Skaggs, Mike Compton, Blue Highway, Lou Reid, Dale Ann Bradley and the Goodbye Girls with Molly Tuttle. There's some songs from Darren Beachley, John Bowman, and some classic bluegrass from the Stanley Brothers and Flatt & Scruggs.

8/8/23: Recorder Reporter Domenic Poli on where to sit outside & enjoy local craft beer; Duke Goldman on the passing of local baseball historian John Bowman; Prof. Bruce Miller looks at the defense strategy of Trump lawyer John Lauro; Activists Betsy Corner & Bob Beatty on The Nelson Legacy Project, Wally, & Juanita at Woolman Hill on 8/19

John Bowman joins us this week on the show. John is the executive vice president at the CAIA Association and is the former managing director - Americas for CFA Institute. This week we're talking about the balancing acts that investment analysts and portfolio managers play and John introduces us to the purpose and mission of the CAIA Association. Tune in to episode 99 to hear John's story, his 'rocket-booster moment,' and his thoughts on the world of alternative investments.

John Bowman of BEL Childcare tells PJ that parents want more childcare spaces. He wants to supply them. But staff find it impossible to get a place to live. Hosted on Acast. See acast.com/privacy for more information.

Ever wondered why the 90's sitcom, Martin, was a game-changer and how it carved out a fresh perspective of black culture on television? Get ready to unravel these mysteries as we journey through the comedic brilliance of Martin Lawrence that charmed the world from 1992 to 1997.Starting from his roots in the Washington DC comedy scene to his impact on fellow comedians like Dave Chappelle, we take a deep dive into Lawrence's career, and his interactions with industry stalwarts such as Bill Cosby and producers like Topper Carew and John Bowman.In the second part of our discussion, we focus on the cultural significance of Martin and its lasting influence on black culture and hip hop in the 90s. Breaking away from the Cosby model of the 80s, Martin introduced a new dimension to black representation on television.Remember Bruh Man, Miss Jerry, and Angry Man? We reminisce the colorful characters, their hilarious catchphrases, and Lawrence's physical comedy that gave the show its unique edge. Not to forget the special appearances by Biggie Smalls and Snoop Dogg, which further accentuated the show's appeal.Lastly, we navigate the controversy surrounding Lawrence's stand-up comedy, which led to his banning from Saturday Night Live. However, it was his improvisation skills that helped Martin stand out from other sitcoms, making it a true reflection of the 90s culture. With its characters breaking the norm and its refreshing representation of popular culture, Martin was more than just a sitcom. So, gear up for an engaging, laughter-filled trip down memory lane as we celebrate Martin Lawrence and the timeless legacy of his show, Martin.

Impressionist and Comedian Frank Caliendo is this week's guest on the podcast. Join Michael and Frank as they discuss Frank's career and his advice for emerging comedians.Show NotesFrank Caliendo's Website - https://www.frankcaliendo.com/Frank Caliendo on Twitter - https://twitter.com/FrankCaliendoFrank Caliendo on Instagram - https://www.instagram.com/frankcaliendo/Frank Caliendo on YouTube - https://www.youtube.com/user/frankcaliendoMichael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAutomated TanscriptsFrank Caliendo (00:00:00):So I thought put Seinfeld on drugs and the d the, the bit was why do my fingers look like little people? Who are these people in the door and they're talking to each other? They're probably talking about me when I say it. Talking. I, oh, Jerry, oh, I somebody. Hey Jerry, you look like you've been seeing little people on your fingers. It's, you just let that camera and then the end, it was Newman and Newman's like, hello Jerry. And she, we've lost a sort of Jerry Garcia Grateful Dead commitment of stamps. You would see . So he'd lick the stamps. You know, that was the,Michael Jamin (00:00:33):You're listening to screenwriters. Need to hear this with Michael Jamin.(00:00:41):Hey everyone, it's Michael Jamin. Welcome back to Screenwriters. Need to hear this. And I got another great guest today. I'm really racking up the guests. Everyone. before we begin, make sure everyone to get on my my watch list is my free newsletter, by the way. Goes out every friday at michaeljamin.com/watchlist for tips for screenwriters, actors, and directors and all that. And now let's bring him on. Let's bring on my next, my next guest who I met actually many years ago when I was running a show. He's, the show was called Glen Martin. And we, we, this is how it works. And, and Frank, don't worry, I'll give you a minute to talk. I know you're talking about the bit here.Frank Caliendo (00:01:15):No,Michael Jamin (00:01:16):I love it. This is how, this is how it works in animation. It's actually a fun job for, for actors. So basically the casting director, we don't even audition. Can't we say this is what we need and the cast director just bring somebody in and, and and if they're terrible, you know, we just get somebody else to replace them. And so in this role we needed this is we needed someone who could do an impression. And I don't remember what the character was. There's probably some politician. It might have been Obama, it might have been George Bush, someone like that. And so she had our casting director was Linda Lamont, Montana. And she goes, I have just the guy. And she brings him in. And it was, it was Frank, Frank Callo, thank you so much for being on the, my podcast, Frank.Frank Caliendo (00:01:55):And now I'm back. How about that? Huh?Michael Jamin (00:01:57):Now you're back. And he killed it. Now Frank, is this your, Frank has got Frank, you know, the, and, and, and the Game of Thrones. There was like the the man of, what was it? The god of many faces. Is that what it was? You're, you're the man. You're the god of many voices.Frank Caliendo (00:02:11):I'll take it. Yeah, I'llMichael Jamin (00:02:12):Take, take it.Frank Caliendo (00:02:12):It it's like six and then I just kind of do variations on it.Michael Jamin (00:02:16):I don't think so. Dude, you are amazing. You are amazing at how you do that. I want to get into like how you actually do that.Frank Caliendo (00:02:23):Well, there, there, okay. So let's, let's get into, first of all, I didn't believe you that I did the show that you said I did, cuz I kind of remember Glen Martin. D d s I remember getting the sides for it. I remember getting an email about it, but I don't remember doing it cuz we talked at some point that you were doing a live a live stream. And you're like I think that's where it was. And I was like, you said, oh, Frank, you did a thing with me. Or maybe we just instant message back and forth. I'm like, you're crazy. I don't remember doing that. I just looked it up on I mdb and I did do it. You did do it. It was George Bush and I guess John Madden. Go figure. You probably Madden happy for Georges Bush. So you wrote in the John Madden thing, I'm guessing. Michael Jamin (00:03:09):It's so funny. It's so funny that you chose to forget that you were on Glen Martin. How, howFrank Caliendo (00:03:13):She, I don't remember a lot of stuff and I don't even do any drugs, but it's like, I don't, I don't remember. I remember it was like a declamation kind of thing, right?Michael Jamin (00:03:19):Yeah. Yes. Right. And it was, that was Kevin Neen. He, he the, he the guy. So, yeah. And you, you crushed it and you did. No, it wasn't John. John.Frank Caliendo (00:03:29):I crushed it so much. I've never worked with you again. That's butMichael Jamin (00:03:32):I haven't done not have animation since. No,Frank Caliendo (00:03:34):That's true, jerk.Michael Jamin (00:03:35):I did Barry for 10 minutes though. But youFrank Caliendo (00:03:38):Know, it's funny. Here's a funny thing though. This is a funny thing, is that I haven't done a lot of animation. So you think of me as animation because of the voices. And that's the thing that's always weird. And that's why one of the reasons I didn't do a ton of voice acting. One, I wasn't as good at it as some other people. But two, it was like, because once you do that, it's amazing how people think of you in like, I'm in a couple of different tunnels for pi. It, it's, you know, the pi, the holes of the pigeon. I am a, people think of me as a sports guy and an impressionist. So it's like, oh, we, that's all he can do. So they never, so I, it's so funny because recently people have been like, ah, you wouldn't do this little partner move.(00:04:19):I'm like, yeah, I would, I do, do I have to do an impression? No. Oh good. Are you gonna rewrite the part? So I do impressions? No. Perfect. Interesting. That's what I wanna do. Now I do this, the impression stuff to keep the lights on. I mean, that's what I do on TikTok and Instagram and stuff like that. It's, there's some fun with it too. But that's the amazing thing is people start to get, I think I saw you do something recently where you said, you know, beat the dead horse. Right? You're like, it can Oh yeah. Do the thing. Do the thing you're known for . Yes. Keep doing it. Keep doing. I did it for 20 years andMichael Jamin (00:04:52):Well, I'm telling, and I'm talking about beginning people, but Yeah. But for you I can understand.Frank Caliendo (00:04:55):Absolutely. It's, it's, it's, and then you, you then you get to that point where you're like, I gotta do some other, some other stuff. And it's so funny because then people don't want you for anything else. Right. And then you go back and do some of the stuff again. But there's like two careers. And I've heard David Spade talking to those other people. Probably talked about it too. But I used to say this until I heard David Spade say it too. And then I'm like, oh, people think I was just taking it from David Spade. But it was, you spend the first career, you have two careers, the first career pigeonholing yourself, getting known, doing something, Uhhuh . And then the second career is being able to do something else, right? Like getting outside of that. So I had the first one. So I'm fighting in that little bit of that second one.Michael Jamin (00:05:33):Well, you know, so I, I wrote for Spade twice on just Shoot Me. And then later on Rules of engagement. So I'm just curious, what does he think is, what is his second career? What was he talking about?Frank Caliendo (00:05:41):Well, I I I just saw it in a, you know, I, I worked with him recently and didn't bring it up because I was scared of him. No. Why would you be scared of David SP's scared of David? Like, I tower over David sp five, six. No I'm trying to think. It was just something I saw him talk about on a talk show. And I, you know, it was one of those things I'm like, ah man, somebody much more famous than me is talking about this. So I don't know whatMichael Jamin (00:06:07):Thing you'd like to do. Well, I mean, you're amazing at pressure. I can see why you might wanna do something up, but what is it acting? I mean, you know,Frank Caliendo (00:06:13):It's just acting in small parts, you know, just small things because one, people think you want to only do big things and carry a show. Right. I don't really even have any interest in that. I don't even, I, I don't even wanna carry a show Uhhuh. Cause that's, I I I don't feel like my acting is at that level where I, anytime I've ever wanted to do something in Hollywood, I've always wanted to surround myself with good people. And they get confused when you try to do that. Yeah. They're like, why would you want somebody else to Well, cause I want it to be as funny as possible. I grew up, I grew up playing sports. When you have a good team, you do your part on the team. When I had Frank tv it was my show that came after Mad tv. It was shortened by the writer strike and it had some struggles and stuff like that. But it was one of those things where and it wasn't that good. And when it was finally put together, I was amazed. Cuz we had great writers and they would do it. They would pieces John Bowman that were Bowman and Matt Wickline.Michael Jamin (00:07:09):Yeah.Frank Caliendo (00:07:09):Great writers. Brenda Hay king and Lance Crowder. All these guys, like people Rachel Ramas, there were really great people Yeah. Involved in the show. But then by the time it was cut and put on tv, all the air was taken out. It was boo boo, boo boo boom. And you know, when that happens, there's no setups. It's all punchlines and you look like you're trying too hard. Yeah. That's, you know, you and I just didn't have, I'm, I'm not enough of a fighter. You need somebody who's gonna fight for you and do somebody who's gonna have the vision and fight for the vision and has been in that spot before to fight. And I just, I mean, I was doing like 15, 20 pages a day cuz I was playing all the parts until I got them to get other people on the show. So it was one of those things where I was just like, I was exhausted. I didn't even get to see edits. I didn't, I didn't like watch myself. Cause I was also too fat at the time. Yeah. I was like, I'm so fat in these things. I, it looks like South Park episodes. Michael Jamin (00:08:08):But how did that come part about, did you have a development deal at a studio orFrank Caliendo (00:08:11):Something being fat?Michael Jamin (00:08:13):No. You a lotFrank Caliendo (00:08:15):Exercise. It was, I had a d I went in, I, I went in and after I was at Med TV for a while there for five years I had the Fox stuff, the n NFL on Fox things, which was actually bigger for me than anything else. Right. being on the Sunday stuff and Super Bowls. So I went inMichael Jamin (00:08:35):And that's cause you do a killer. Madden give, give us, give us the taste of the Madden so people knowFrank Caliendo (00:08:39):What you're trying. I'm mad here for the quick pop popcorn pop. And I turned him into a character too. Like, like I was ta talking. This is, I know I go off on tangents. Just stop me. Go back. But one of the things with the Madden, you know, the, the realistic John Madden voice was this kind of voice where you, you say the things and you do the things. But I found this thing in him that was the excited little kid. Right? The . Yeah, yeah, yeah, yeah, yeah. And then when he would get that, that going, it was like, I was on Letterman and he had me come on as, get me come on as John Madden didn't say it was a some, I was the lead guest over Ben Stiller, I think it was. Wow. Fake John Madden Wow. Was the lead guest. And I came in and I wasn't really the lead guest, but it was, you know, I tell people, but it was a, it was so I pulled a chicken wing out of my pocket.(00:09:29):I had them get me a chicken wig with sauce on it and everything. I gave you hungry. He was like that right now. , how funny, can you believe this? But it was one of those things where it just, stuff would happen and the, you create the character with it. And it becomes, the funny thing is to me, that that stuff doesn't work the same on social media like TikTok or Instagram, but it might work on some YouTube stuff. Cause there's more longer form. It's, it's more of a longer form, you know, the, the platform is Right. I just didn't like that I said more and longer right. Together. I'm, I'm weird with grammar. I'm very, some things I just, like, if you noticed, I texted you, I didn't like that I put different tenses tenses in my texts and you like, you just stopped talking to at that point.(00:10:14): But when you, I dunno what they really like and on TikTok and these you know, shortform ones platforms is exact replication. They want the, what I would call more of an impersonation, right? Like they want the the, they want you to sound exactly like the person. There's no element of caricature it really, or going what I would call Dana Carvey on it, cartooning it Right. And making it bigger. They're like, ah, that's not like it. Well that's the point. That's the comedic element, right? Right. That makes a good exaggeration after. Yeah, exaggeration after the initial what's the, what the word I'm looking for, the when you, when you recognition, when you get the recognition, laugh on the sound, and then you have to do something with it and make it bigger, right? You have to have more fun with it.Michael Jamin (00:11:09):But you did a post, I thought it was fascinating. I think it was on TikTok, excuse me. I think it might have been like how you do Robert Downey Jr. Or something. And you, you walk through the stages of how you approach the voice in, in pieces and then how you getFrank Caliendo (00:11:26):There. So let's, let's start with this. And this is something that you'll identify with completely as a writer and a creator. You have to find the cadence and the voice of the person not speaking in terms of tone, but the cadence, right? Yeah. How many Christopher Walkins have you heard, right? You've heard low, you've heard, hi, you've heard in the middle, in, in, in the old days, it was William. You knew who it was just by the pauses, right? So you could tell from those voices how you would write for that character. You put the point of view into those, into the song, right? What those of the, you know, into you put the lyrics into the melody. So with Robert, Danny Jr, I found that this is with other characters too. That counting can help you do it. It's better for the audience. It's not a full way to teach somebody how to do it, but it's entertaining while you do it. So Robert Downey Jr. Is after you find the pitch, or you don't even have to have the pitch first, but I'll go to the pitch cuz it's what I do. But it's one, two, pause, burp 5, 6, 7. So you find that it's 1, 2, 4, 5, 6, 7. And then you can just figure it out, you know? So that's, that's how you find those with Liam Neon. It's 1, 2, 3, 4, 5, 6, 7. You know? So it's the beginning. That'sMichael Jamin (00:12:52):Interesting.Frank Caliendo (00:12:53):Yeah. You can do that with Jeff. Goldblum is one, two 1, 1 1. Juan, what comes after one? Think out loud. That's him one. What's, what's coming into my head? What do I hear? The voices coming at me. One, two. Yes. Here comes one, two, a little jazz. 2, 2, 3, 3, 3, 4, 4, 1, 2, 3, 4, 5, 6.Michael Jamin (00:13:17):But you talk about this, you're talking about how you approach it. It's not like you think anyone, you, it's not like you're trying to teach anybody. It's not like anyone, you think anyone can do this, do you? Because I don't think IFrank Caliendo (00:13:26):Do. I think people can find, people can find, I do think people can find it. I think people can find people can't get the, they might not be able to get the pitch, the, the, the note, but they can find the cadence. Everybody, people do itMichael Jamin (00:13:40):Forever. But you, you know, your, your throat, your mouth has a certain in your nose, like you talk. I think you're stuck kind of with the, like, I can't change my, you're stuck with the voice. I don't know how you were able to literally changeFrank Caliendo (00:13:51):The, well, you don't need to do all that stuff. You don't, you don't have to do all the, that. This is another part. The face is another part of an impression. That'sMichael Jamin (00:13:58):The sound of the com. The sound comes from inside your skull.Frank Caliendo (00:14:01):Ok. So yeah. So there, there, there are different pieces to this as well. You can close off your throat. You, you think of it, you know the Bobby character, the Howie Mandel, little bitMichael Jamin (00:14:12):Bobby.Frank Caliendo (00:14:14):So that's closing off your throat. And a lot of people can do that. But the difference is finding different levels of being able to work. It's just, it's a, it's like a muscle, right? Right. So I'll do, I've done this, you might have seen this before, but this is John C. Riley is in here. So John C. Riley has just a little bit of bubble in his throat. Now if you work backwards, a tiny hole, ker frog, that's a little bit more up in here, re tiny Hall Kermit, you're reporting from the planet COOs. Then bring it down a little bit, Nelson your throat a little bit more. You add some air and it becomes Mark. I, I see this as an absolute win, guys. ThisMichael Jamin (00:14:51):That's exactly it. ThisFrank Caliendo (00:14:52):Is, this is crazy. And then, so for Ruff, he is got that thing where I think he had like a, a tumor or something, some, some medical thing when he was younger. And part of his f it was the same with like Stallone, Stallone had Bell's palsy, right? So he is got that, you know, that thing that, right? So if you find, I call it the pizza slice, you've probably seen the thing I did this. It's a triangle. It's a line across the eyebrows, a.in the, in the chin. And it's the triangle that goes down. There are two things. Now, this is stuff I'm actually gonna dos and Instagram on as well, but it's I just am too lazy. And it's, the mouth tells you how the person talks.Michael Jamin (00:15:33):UhhuhFrank Caliendo (00:15:34):. So if you watch my mouth, that's why everybody does a Donald Trump, right? When they do a Donald Trump, you have to do the lips. The lips are very, very, that's very. But now this part of my face from those down is doing Donald Trump. Now when the eyes start going, it sh now that's the point of view that starts. Same with the bush. Bush is, you know, I could do this thing with this half smile. It's like somebody told me a dirty joke before I came up here, but that's just, that's from nose down. But now I get a little discombobulate and you know, I'm staring into the, the abbu, you know, that's what it was also a great movie. So it's, and then the point of view comes from the way you think. Right? But you, when you write a character, when you write a character, you become that character when you write, I don't know if I'm stirring batter or what. Yeah. But if you're doing a cooking show and you're stirring the batter, but your character, you haveMichael Jamin (00:16:32):To, yeah, we would, for example, on King Hill, we would imitate Bobby Hill or Hank or whatever. But imitating is not sounding, you know, it's not sounding like,Frank Caliendo (00:16:40):Yeah. It's just, that's just taking it another level. You, you, you just take it. You get, because you had the cadence of the character. You might not have had the note, but you had the notes written. You didn't have them on the stop, but you knew if it was an eighth note, a quarter note, whatever, a, a rest. And I only know a little bit about music and that's all of it that I just told you.Michael Jamin (00:17:00):But did you, as a kid, did you, like, did you, were you good at this as a kid? Did you wanna aspire? Did you aspire to this?Frank Caliendo (00:17:06):I think I was pretty good at it. I, I have a natural knack and my kids have the knack too. So you have to have a, a knack at the beginning to figure this stuff out from the beginning Right. To, you know, it's predator of the infrared going. I see everything. My son had Bell's Palsy when he was very little. And I, I could see that when he would smile. This is a, the blessing and a curse thing. And when he would smile, he wouldn't smile all at the same time. And then I started to look closely and part of his face moved a lot slower and didn't always move. And I said to, to my wife, I go, something happened. I don't know what it is, but I think he had Bell's Palsy. Well, we had him tested to make sure there was no brain stuff going on or whatever.(00:17:47):But the doctors, what the diagnosis eventually was Bell. He had Bell's Palsy when he was a baby. Right. And it, you know, pa what happens is Bell's Palsy is, I think the fifth I, I don't remember what it was, the fifth or seventh cranial nerve. Something gets damaged either by a virus or trauma, blood trauma. And it keeps you from everything moving at the same time. But that's, but I could see it. Most people don't see it. I could see it because that's the way my brain breaks things down. Yeah. I mean, you as a writer, as a performer, whatever, however you consider, whatever you consider yourself, you do similar things. You see the world from that point of view. And that's how you write. You go, you observe, you take in, and then you replicate or create from that. Exaggeration or finding the, I I've set off Siri like nine times on my watch during this. I've never, that's never happened before.Michael Jamin (00:18:50):I Yeah, I, I say mean things to her. I and I and my wife says it's not good because Apple's picking up on this , like I say awful things to Siri. So, you know, like, Siri, you asshole. What time is it? She don't say that.Frank Caliendo (00:19:08):I'm sure it could be much worse.Michael Jamin (00:19:10):Yeah, it is much worse. I'm cleaning it upFrank Caliendo (00:19:11):For the podcast. Yeah. You were just trying not to get canceled.Michael Jamin (00:19:14):Yeah. Yeah. .Frank Caliendo (00:19:15):Yeah. So there, so there are lots of, yeah, I, I, I see. I look at these thi these things in, in lots of different ways. For me, you know, one of the things that, one of the things when I first got on social media in the last couple years, a few years ago mm-hmm. . Cause I wasn't doing any, cuz I was on Twitter 10 years ago. AndMichael Jamin (00:19:35):Why did I started finding, started my goal on social media. Why did you start?Frank Caliendo (00:19:38):Well, you have to. I mean, if you, if you, the first time it, it was because it was new and people were telling me I didn't like it. I just, I don't like it. I, I, I, I can't, I can't adapt it because people are angry for the most part. And there's a lot ofMichael Jamin (00:19:54):Yes. Tell me about it.Frank Caliendo (00:19:56):Is it, yeah. Right, right. And there's a lot of what confirmation bias. So there's confirmation bias mm-hmm. and the exact opposite. Right? So people either wanna hear exactly what they're thinking and they don't wanna have a conversation about something different. Mm-Hmm. . Or they just wanna fight you for no reason. They wanna troll you. They just wanna, they wanna make you mad. And especially somebody like you or somebody like me that's been in the entertainment business, we targets. Because if we say something back that's mean. Oh, the guy from Glen Martin dvsMichael Jamin (00:20:27):. Well, they don't, they don't. No one's ever heard of that. I know. But, but you're right. I don't, I don't respond anymore because there's just no winning it. There'sFrank Caliendo (00:20:35):No winning. It can't win. Cause because you are, it would be like, this is an exaggeration, but it'd be like a leader being a leader of a country. And this is, but this is what Trump does or did though, right? Uhhuh, . . And you would come back at people and you'd go think, ah, you gotta stay above that. At a certain point it's fu it, it quote unquote. It could be funny in and this isn't a political rant, this is just what I see as an observation. Mm-Hmm. it can be funny in of somebody running for president, but as soon as they're president you kind of feel like you're Yeah. I think, I think it's time to be a little different. You can, that's my opinion. ButMichael Jamin (00:21:08):No, you're absolutely right. I told, but, but, and that's what's so interesting about it, is because social media, at least when I started doing it, like at first, it's a little empowering. You have an audience and you can, you have an, you have a platform. But then once you start getting trolled and, and I, as a comedy writer, I feel like I can tear you apart. I can tear you apart. Whoever's trolling, I don't, I'm better at this than you. But the minute I do it, I, I can't do it because then I'm, I'm then I'm the asshole. And then it, what was once empowering now becomes emasculating at the same time. It's very odd to be able to have a platform, but not causeFrank Caliendo (00:21:40):And and you can, and people can say things to you that you could never say back because they will say things that would get you as a business person canceled. Yep. It doesn't have to be racial. Or it just, they can say things that are just mean that if you say it and somebody pulls it up, they're like, look what Michael Jamin did. Yeah. This is unbelievable. Yeah. I We can't hire this guy. Yeah. He's, he's a terrible person. And they'll defend the person who's ripping you to shreds and saying way worse things. Yes. So you're stuck in, you're, you're stuck in a spot. So it, so I, I started, this is why I got away from social media 10 years ago, whatever. So I was on Twitter, I was building it really quickly with sports stuff. Mostly not video, just just kind of like sassy phrases and, you know, mean things. I, and I realized I was starting to be this person on Twitter in real life in real wayMichael Jamin (00:22:37):InFrank Caliendo (00:22:37):What I'd see somebody just, I'd see somebody and wanna say something terrible to them. Mm-Hmm. . And the only reason I would say that in Twitter, cuz my comedy's silly, not really mean uhhuh, , it's it more cherubic cuz of the cheeks. But , it was one of those things where you said mean things on Twitter, you got likes and retweets cuz people love Right. You know, knocking down people in power. Yeah. Yeah. And I would say something about a quarterback that just threw an interception. Something I could never do. I would never have, you know, that that's the level of skill to, to make it to their level. And I'm ripping them to shreds. I'm going, I, I, and I've changed this way too. I mean, I, I used to think, you know, I used to watch the Oscars and kind of rip the Oscars to shreds because it is so self-aggrandizing. It, so mm-hmm. , everybody's self-congratulatory and stuff. Like, and I would say things, I'm like, I shouldn't be saying this, that, not just because it's, you know, it's kind of gross. But it's, it's also just, I don't know, these people work very hard to get where they, you know, they're just going, some of 'em don't, you know, they're happy to be getting an award, but they have to be show up. It's part of the business. Right.(00:23:46):I get it. I, I what a jerk I am for. You know, that's why even people, people wanna do a podcast and like, let's do a podcast where we just rip movies. I'm like, I don't wanna, that's somebody's acting, somebody's put a lot of time, like my TV show. There were a lot of great people putting that stuff together. But by the time it all got put together, a network has to say other people standards and practices, all these different levels, it's not really what you want it to be. And it's not any one person's fault. It's just not what you want it to be. And that person is, but, you know, that's why it's so amazing when somebody does do something really great, you're going, wow, you watch a, a Tarantino film or something like that. He's a guy who just fights for all his own stuff.(00:24:32):He's gonna do it his way. Right. But you watch a, you watch a film with somebody who does Jordan Peele now right. Who actually got to work with a man TV years ago. People get to a point where they have their point of view and they can make closer to the movie that they want to make. And then you go, okay, when this turns out, this is, this is fantastic. This is how you do it. Because when you don't have that much, say you don't have that much power and you don't have that much fight in you, it's, it's really hard to get close to what you want. And there were so many things in my show mm-hmm. that were close to what I wanted. But that little bit of change just goes. And there were three little changes. You go, oh, the timing's not what I would've done there. They used a cut I never would've used. Right. And now they put it in a different part of the show. Wow. Oh man. So then I know that happens everybody,Michael Jamin (00:25:27):But I have to ask, so then why do you do, why are you on social media? Because you, you have quite a big presence on it. So what's,Frank Caliendo (00:25:33):You go in, you go into an somebody's office, an executive's office. The first thing they do is look how many this, what are you doing here? What do you do? They reallyMichael Jamin (00:25:43):Say, say that toFrank Caliendo (00:25:44):You. Oh yeah, I've had plenty. The people look at me. It'sMichael Jamin (00:25:47):Because what they don't, I feel like they don't understand is the change in the algorithm, which is maybe only a few months old, but they don't un do they understand when you talk to them that having a million followers on Instagram or TikTok, you can't reach them all on any given day. You reach maybe a 10th of them, you know.Frank Caliendo (00:26:03):Well, you don't even reach that. I mean, people don't, so again, people the way it's been explained to me is that TikTok doesn't even really go out to yourMichael Jamin (00:26:15):Followers anymore. No, it doesn't. No, it doesn't.Frank Caliendo (00:26:17):It go, it goes out to a random sample audience, which has mm-hmm. some of your followers in it. And then once it hits that first audience, if enough people watch it long enough or watch it to the end, it gets, then it goes to the next sampleMichael Jamin (00:26:30):Audience. Yes. Right.Frank Caliendo (00:26:31):So if you go to a bad, I I,Michael Jamin (00:26:34):But that's also Instagram. Now that's kind of this, they're they're taking the same model. TheFrank Caliendo (00:26:38):The real stuff. Yeah. Well, because, and the reason that works for them is because they, they can build stars faster that way they can build. So it used to be on Instagram, it would take you years if you weren't famous mm-hmm. to get to a point where you had 10,000, 20,000, 30,000 followers. Well now people can just vertically swipe through reels and all of a sudden the, those people who do that are tend to follow a lot more people. Right. So your videos can go viral with no followers. Right. And then suddenly you'll have followers. It didn't used to work like that it used to.Michael Jamin (00:27:15):Exactly. So that's why I'm asking lots of followers. Do they know, do you think the executives know that? Cause they look at your numbers and like go, oh, Frank's got a big following. But do they know that you canFrank Caliendo (00:27:23):I don't. I think they're a little, I think yes and no. But again, it works to, in their favor that if you have videos that have a lot of numbers mm-hmm. do, because then you're hitting an audience. They know you're hitting a pretty big audience that spreads it to other people. Mm-Hmm. . Now I'm 49, I'm about to be 49. Okay? Mm-hmm. , I, my age group that I played to most, or played to the most was probably 35 to 50 in there. You know, somewhere in there somewhere that I felt like I was similar age and had similar likes and life experiences.Michael Jamin (00:28:00):Right.Frank Caliendo (00:28:00):And those people, that group of people doesn't tend to hit the light button or the retweet button as much. I know I don't. Right. Right. Kids send it, they direct message stuff to their friends. They send things to their f they then they tag other people. They tag lots of people. Yeah. And that's why network executives, producers advertisers like young audiences, not just to sell the products to, but they're the ones that spread the word. Right. And they know that. They know it. It kind of works. You know, I always, I never really thought about that or I never really believed them with that. You know, I've changed brands on a lot of stuff. I've changed toothpaste, I've changed all kinds of things. Right. I don't think I'm normal. I, I, I, I guess I'm not, but young people will try different things and they will do lots of different things at a much higher rate. AndMichael Jamin (00:28:54):So interesting. Do you feel then, as a performer that, okay, so you kind of have to do this. You're a little bit, you know, could you do it what, every day? Right? How many times do you post a day?Frank Caliendo (00:29:05):I don't, I don't even post that much. I, I'll post like a, a week. Once a week or once. Oh, half the time. It's half the time. It's old stuff that I've already Interesting. Like the thing, I have something with 8 million views right now from like a couple weeks ago. Wow. That I've posted two times before. Yeah. And it's gotten a million views and 2 million views and maybe 30,000 views. Oh. Which hits exactly what you're talking about. Yeah. If it doesn't hit the, I have, I have two pieces of advice. A couple pieces of advice for your content, please. I, I would not end my pieces telling people to go see, go. Don't, I wouldn't waste the time in the, in the, in the post telling people for more, if you like stuff like this. Go see, go did Michael Jam writer what, you know, your website, stuff like that. Right. I would just put it in writing near the end. Yeah. On the screen. Because then it's there a little bit subliminally. And they don't have to wait for the, because if they've heard you, if they like your posts and they watch you all the time, they know that's the end of your post. They'll cut out early.Michael Jamin (00:30:10):Interesting. So you're saying put But if I put it up on there, cause I, I do this to get people on my newsletter Right. To, you know, cuz that you get their, but you're saying if I, if I just say it'sFrank Caliendo (00:30:20):Up to say at the end, you spend two to three seconds going. Right. If you like what I said right. Go to Michael Jamin, Robert Writer what is it? Michael jaminMichael Jamin (00:30:28):Michaeljamin.Com/Watchlist is my newsletterFrank Caliendo (00:30:30):Slash watch. Okay. So if you, if you like what you've heard, go to Michael Jamin slash wa slash slash watchlist stuff like this and other things that I gotta Now now they've got, now you've, now you've given them a little piece, which is what's everybody telling you to do? They all tell you well get the call for action. Yeah. But if they've seen your post and they like your posts, they don't need that anymore. Right.Michael Jamin (00:30:53):What if they're brand new? What if they'reFrank Caliendo (00:30:54):Brand new? If they're brand new, you put it, you just put it up on the screen. You put it up on IMichael Jamin (00:30:58):The screen. What do I put on the screen?Frank Caliendo (00:30:59):On the screen? You just write it on the screen. Yeah. Say like more stuff like this.Michael Jamin (00:31:03):Oh, okay. For the whole thing. For more. Okay.Frank Caliendo (00:31:05):Or, or in the last, the last third of what you say. Okay. Just have it up there. And in the, because you do that, you can try, you can, you can experiment and do it both. Do it, do say it sometimes put it up on the screen. Do both mm-hmm. sometimes just put, put it at the end and, and test it. Yeah. Because I could be, I can be wrong. I can be wrong here. But I'm telling you, I watched to the end of yours because I know because I want yours to do well, Uhhuh, , I'll do it, but I'm tempted as soon as you go into that mm-hmm. , I tempted to flip up andMichael Jamin (00:31:39):All right. What,Frank Caliendo (00:31:40):What I found with my stuff, if I introduce things, sometimes people don't even wanna see me introduce it. I just put the title of what I'm doing on the screen.Michael Jamin (00:31:49):Uhhuh ,Frank Caliendo (00:31:50):I don't tell you, you know, I don't tell you what I'm doing. I put the title on the screen to tell you what I'm doing and I get right into it. Right. Unless it's a reply to somebody's if somebody's, then I read their reply a little bit. Right. So they have the visual and you're reading the reply and you're saying something at the same time. So they're kind going back and forth. And then you do, you cut and do what they're saying. What is, what is your other, very quickly,Michael Jamin (00:32:16):What is your other tip for me? Is there anything else? I'll listen in. I don't know if my reader Yeah. What cutsFrank Caliendo (00:32:26):I would cut, I would cut a lot. You don't cut much. Oh, oh,Michael Jamin (00:32:30):Oh.Frank Caliendo (00:32:31):Visually you do, you do things in one.Michael Jamin (00:32:33):Yeah. No. You know why? Because I just don't wanna produce anything. I don't wanna spend time. Right.Frank Caliendo (00:32:36):I get it. I get it. I get, I get it. And, and, but like a friend, somebody I know used to work at YouTube and they're like, just cut, just cut, cut, cut, cut, cut. And you don't even have to really produce it. All you have to do is just splice, splice, splice slightly. Make things bigger and smaller. You don't even really cut any air out. But I, if, if you look at, if you look, you just put it in iMovie or they actually have it in there. Now. If you don't even, you don't evenMichael Jamin (00:33:01):Too much word.Frank Caliendo (00:33:02):I get it. If you watch most of my stuff that's new. There is no real effort into writing it. , Uhhuh. It's just saying words over and over.Michael Jamin (00:33:13):. Right. It's,Frank Caliendo (00:33:15):I won't put the time. Now what I'm starting to do is go back, like you said, let's talk about the Seinfeld thing. When I put the Seinfeld thingMichael Jamin (00:33:21):Out, and that was from Frankie. OhFrank Caliendo (00:33:23):Right. That was from, and it was critically panned. Like it's terrible. Like critics told me it was awful.Michael Jamin (00:33:28):. Ok. I liked it.Frank Caliendo (00:33:30):Yeah. And it's even cut even shorter. It's, it's even, I think the full things like pretty good. There was one of the things I was the most proud of, Uhhuh or the proudest of. And but it's one of those things where , it's so funny cuz it really does look like a South Park version cuz I'm so fat. At the time we made it that it's that, that it just looks like, I call it sign fat. Right. But it was weird cuz if I had guest stars on the show, it would, it would even make it tougher for disbelief, you know, suspending belief or di is it suspending belief or suspending disbelief.Michael Jamin (00:34:03):Suspending disbelief.Frank Caliendo (00:34:05):So, okay, so, so you,Michael Jamin (00:34:07):Yeah. So you're not disbelieving it,Frank Caliendo (00:34:09):Right? So you suspend your disbelief when you see somebody, all the characters look kind of the same. It fits, but all of a sudden you have somebody that looks more like the person because they're skinnier or something like that. A sudden it looks up like, but that Seinfeld thing, it was actually from my, my act was my, the way I did it in my act was I tried to, I always trying to think for the impressions. And so my, my thinking of the Seinfeld bit and my act was Seinfeld is about nothing. It's about reality. It's about everything that happens a reality. Well, what takes you outta reality? So it was drugs. Mm-Hmm. . So I thought put Seinfeld on drugs. And the, the, the bit was why do my fingers look like little people? Who are these people? They doing, they're talking to each other.(00:34:54):They're probably talking about me when I say Jerry, oh, somebody. Hey Jerry, you look like you've been seeing little people on your fingers. That's great. You just let that cat. And then at the end it was Newman and Newman's like, hello Jerry, hello Newman. And she would've lost a sort of Jerry Garcia grateful dead commitment of stamps. She would see them baby . So he'd licked the stamps. You know, that was the bit. So there was reality and it turned back into AED episode. But the whole bit was instead of reality, how do I get into a fantasy world? And that was the easiest way to to, to(00:35:28):Do it. Right.Michael Jamin (00:35:31):Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not gonna spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.(00:35:54):It's fucking, your voices are amazing. I mean, that sounds amazing. But tell me, I have another question up for you. I'm just, I'm curious, I know you're, I actually wanna mention this, so I know you're, you, you got two shows coming up in, in Phoenix, right? Yeah. Where you do, where you go and it stand up, you're doing voices as well, or like, right? OrFrank Caliendo (00:36:11):Yeah. I, I just, what I do is, I'm, I, so what I, what I like to do is, I always hated the vaudevillian impressionist Uhhuh . What if,Michael Jamin (00:36:21):Oh yeah.Frank Caliendo (00:36:23):You know, what if Carrie Grant was your waiter, well, why, why would he be, first of all, that's bad writing, right? ,Michael Jamin (00:36:32):Why would he be your waiter? WhyFrank Caliendo (00:36:33):Would he be a waiter? Remember, years ago, I think it was on the white was it the white album? The that Dennis Miller did? Uhhuh . He's like . He was like and these impressionist, I think Jack Nicholson as a fry cook at McDonald's. I mean, how about you as a fry cook at McDonald's? Chachi, get some writing. You know? So it was it was, I was always like, I wanna write for these characters. So what do would I do? I would make observations. So the way, and that would give me my point of view. So Pacino, he's an actor, right? So I was like, what do act what do they teach you in acting? Be curious. Be amazed by everything. So the simplest thing, Pacino can be amazed. Like somebody's turning on a light. He's like, wait a second, you mean to tell me you flip a switch over there? A light comes on over here. Wow. . So he's amazed by everything. That's the point, right? And that's what my Pacino character always was. And he, and chewing gum. So that'sMichael Jamin (00:37:34):Dead onFrank Caliendo (00:37:34):Man. It's make those, make those observations and then apply them in situations later. So it's observational comedy, but I was just observing how people were. Robert Downey Jr. Is a human. Twitter feed, 280 characters are less and everything's about himself. So he'd give, be giving out an Academy Award, which is supposed to be about the nominees, but the, but he'd be up there like, these people deserve your applause almost as much as I do. Hashtag awesome. So it's, that's the point of view, right? Set it up. That's funny. Bring it back. So once you have that, now you can, now the audience is in on what your point of view is. Now you can put them in situations, which is really what you do with characters in writing. You know, any kind of sitcom or any kind of a, any, you know, any kind of drama, anything.(00:38:25):It just takes longer to get them to who the character is an impression most of the time, and this is why impressions are cut away from acting so much where people think there's no acting in impressions because it's just, you know, somebody, there was Robert De and they work on, are you talking to me? Well, where's the, where's the writing for that? It's the vallian part, right? Come up with something that tells you who the character is. Right. And now write for it. And now it's an interesting character. And that's what you know any type of original character, it just takes longer to get there. And that's why a pilot, right? A television pilot, and you can tell me if I'm wrong, you do this more than me. Let's see. There's a lot more exposition and telling, kind of telling people, okay, hey, I'm just your local waitress. You know? Yeah. Yeah. And they tell you a little bit because they have to do it to get it done. To get it sold. Yeah. And then once it's, once you kind of have it, now you can develop the characters and you have, you have arcs that can build the character to something longer. Yeah. And that's why a lot of pilots get rewritten and redone because the pilot's almost a presentation just to sell it. And it's almost two on the nose. It's a to be what you want.Michael Jamin (00:39:40):But tell me what it's like when you do, like, when you go do a show or two shows, like literally, what is that? Like? You get on a plane, you arrive a couple days before your show, likeFrank Caliendo (00:39:51):The day, usually a day off, the day of just get there. YouMichael Jamin (00:39:55):Do a sound check or no, you just go up on stage likeFrank Caliendo (00:39:58):A theater. I'm probably have the guy opening for me do a sound check. I don't, I don't even, I just go out there and show up and head so I have more energy. I mean, it's just, I like to get out there and just start going. I have a plan. Uhhuh, I have a lot of stuff that I've, I will do that I've done, you know, that I've worked on and done before. But now I try to, I actually like to do clubs a lot more than theaters. Why is that? Because I get to play more and I don't feel, I feel like somebody goes to the theater, you know, they, you feel like they, even though they're not, you feel like it should be a little bit more put together and professional. I feel like at a club, it can,Michael Jamin (00:40:34):A club, you can get heckled. They're not necessarily coming to see you. If you go to a theater, they're coming. They're paying seeFrank Caliendo (00:40:40):Me, 90, 99%. They come to see me at a club. Now if I'm doing a club, yeah. Cuz I'll do like off nights. I'll do like a Tuesday or a Wednesday. The, the general audience isn't going for that. And tickets will sell in advance. I mean, it, it's, that's, that's what I, that's what I likeMichael Jamin (00:40:57):To do. Is, is it theater though? More, more seats usually.Frank Caliendo (00:41:00):Yeah. It's harder to sell. 'em, You, you've gotta figure you're gonna sell. Probably you can probably, cuz people are, they're trained to go to a club and you'll get some people that fill other seats and it'll, it'll snowball. People will talk about it more. Uhhuh . And they have a built in advertising in everybody who goes to that venue. Three or four, you know, five shows a week.Michael Jamin (00:41:20):Interesting.Frank Caliendo (00:41:20):Sees that you're gonna to be there. And they're a comedy audience already. A theater doesn't necessarily have a builtin comedy audience. It might be that's 9%.Michael Jamin (00:41:31):But they're not coming in a comedy club. They might be drunk, they might be hostile, they may heckle. They're not, they're, it'sFrank Caliendo (00:41:38):Not, not, it's not as bad anymore. It's, it, yeah. Most of the clubs are that that's, that's kind of a nineties early two thousands as maybe eighties type of thing. It, that doesn't happen as much anymore because they have so much riding on everything. The clubs used to be, they would you just go there and do a nightclub set and they, they, they'd turn 'em in and out, two drinks, four drinks, and get 'em in and out. Now they're selling them dinner. Uhhuh, they, they, they realize they were given away the five, they were, they're restaurants now that have entertainment. Right. Because they would, they would bring everybody in and nobody, they would give everybody else all the food and beverage around the showtime. And they would, they were realized, well we can do this too. And some of 'em do it. Really,Michael Jamin (00:42:21):Really. But they're not eating during the show. You don't want the meeting show.Frank Caliendo (00:42:24):Yeah, they're,Michael Jamin (00:42:24):Yeah. Yeah. They're, and you're hearing like the silverware and stuff?Frank Caliendo (00:42:27):Yeah, it's, it's, it's usually more of a finger food. But they're, yeah. They're, they're so are some that have full-on, you know, but that, that a lot of that happens during the opener or mc too. By the time I'm up, they're, they're, they're a drinking and they're warmed up and they're, they've gotten their food already.Michael Jamin (00:42:45):And then do you travel with their, with your, with your opener Or is it a local guyFrank Caliendo (00:42:50):Or one? I bring people with me because I know what they're doing. , Uhhuh, . I, I, I'm, I'm a control freak in terms of what's on before me. Right. Because I'm very clean. Even when I try to be dirty, it doesn't work because people wanna see me for being clean. Right. but I've had, I, you know, an opener thinks they're clean and you, you know, I only say that word once, like, wow, that's too many times for some of my audience. Right. Or they, they, they, they, they're not expecting it. Cause they've been there to see me before and I'm the one who's gonna get the emails in the club is. And so I just bring people that I know are gonna play and then I don't have to watch the set over and over and over.Michael Jamin (00:43:31):And then you, and then after you'll you how many shows?Frank Caliendo (00:43:35):Two is the most I'll doing at night, but I'd rather just do one. Right.Michael Jamin (00:43:39):It's exhausting. It's exhausting to hold that kind of attention for pe to people.Frank Caliendo (00:43:43):Yeah, it is. And I just have the point where I, I do it and I have, when I have fun doing it mm-hmm. , that's when I go up and do it. And if I go up and I'm creating some, I'm having fun. If I'm doing an old set just for money and not creating, I'm not having fun. And that happened to me for five to 10 years where I was just doing the same thing all the time. I was making a ton of money Uhhuh. But I think some of my audience got like, well you're doing the same exact set. And it was just going, kind of going through the motions. And I, that wasn't a great time for myself for, you know, me personally. Not like I had anything wrong with family or anything. Like I just wasn't having fun doing the comedy.Michael Jamin (00:44:24):AndFrank Caliendo (00:44:24):Then weMichael Jamin (00:44:25):Will you leave the next day or what, what or I don't wanna cut off. IFrank Caliendo (00:44:28):I used to leave the next morning, first flight to try and get home. Cause I have two little kids right at the time. Two little kids now. They don't like me that much anymore, so. Right. I don't mind going away for a little Do you have kids?Michael Jamin (00:44:39):I do, but they're grown. Yeah. They'reFrank Caliendo (00:44:41):In college. Yeah. So, so you know that, I mean, when they're little, I was missing a lot cuz I was working a lot when they were little. I'd be on the road for a couple weeks at a time. I didn't see my son's first steps. I mean, I just, I didn't like that kinda stuff. SoMichael Jamin (00:44:56):But you knew going into it, when you went to comedy, you knew that that's, that's what the life is gonna be like, right? Or No? Were you surprised? Yeah.Frank Caliendo (00:45:03):But you kind of assume you're gonna go you, you know, you Yes, yes. You do know. But you're also thinking maybe I'll land a TV show, Uhhuh , maybe I'll do, you know, you, you, I don't, and I didn't plan, I didn't plan in the terms of that. But listen, I don't have to work. I honestly don't have to work anymore. I really don't. I I'm, I'm at a point where I don't, so I do things that I really want to. Right. And I, you know, the NFL on Fox stuff, because I was associated with a NFL Hall of Famers and stuff. Like, I do big corporate shows for, you know, oh, do you? For the biggest, for the biggest companies in the world, Uhhuh. And that's, that's what I do. People, you know, I, you, you see one date on the you know, on my public dates, because I live in Phoenix, I don't have to go anywhere.(00:45:52):So I'm just gonna do it. I can do, I can go do it and I can, I can be home. People are asking me to do shows all the time. I'm like and also do a run of one night at different clubs so I can, I don't like looking at the same back of the room for, you know, five or six days. You know, three, four days, five shows. I just, I don't enjoy. So I don't do it. Right. I I I try to do the things now that I like to do. Michael Jamin (00:46:19):I didn't know your feet,Frank Caliendo (00:46:20):So I've saved a lot of money.Michael Jamin (00:46:22):How are you getting acting gigs in if you're all, if you're outFrank Caliendo (00:46:24):There? Well, have you seen me in anything? I don'tMichael Jamin (00:46:27):. That's why.Frank Caliendo (00:46:29):Well, yeah. I don't, I, I don't I go, I go out to la I'll, I'll do some stuff on tape and things like that. Uhhuh , and people ask for me. But I, I, I, you know, yeah, there's, people call me now and I'll get people are like, Hey, will you do this? I'm like, yeah, if I don't have to do it, yeah. Yeah. I just go do it. And I was like, yeah. Like, I just did something recently that was a, a Zoom thing. Like it was actually Zoom in a movie, like a small, you know, like a, a Netflix kinda thing. Like, they're like, you can, you can, you don't even have to come here, you can just do a Zoom thing. And we made, it made the part became bigger. Right. Cause we, you know, I I I call it being serious to the point of being funny where you're just so serious. It's Will, will Ferrell does it really, really well. Right, right. Where you're so serious that it becomes funny. I that's what I, that's the comedy I like. I don't like hail I paid. Right, right.Michael Jamin (00:47:22):Here'sFrank Caliendo (00:47:23):My testicles. That's not the kind of comedy I really like, but it's, a lot of times it's what you have to do to get like the, the funniest thing to me. I like that really uncomfortable stuff in serious. So, better Call Saul, you, are you a fan of that show? Yeah,Michael Jamin (00:47:40):Yeah,Frank Caliendo (00:47:40):Yeah. I like that. Mike Erman Trout.Michael Jamin (00:47:42):Yeah,Frank Caliendo (00:47:43):He's great. Will just odenkirk they will crack me up because it's not, they're not doing anything big and funny per se. They're just in a really awkward situation. But it's, the stakes are so high and it's really important. La Los Salam, monka, you know, it's like, yeah.(00:48:04):All these things are so, like, and stuff Brian Cranston would do on breaking Bad. And you'd watch them and you'd go, ah, like, I'd like to go. God, you're good. I go, that's the stuff that when somebody's just the character and I go, I, I was watching billions. I watched Billions and I started watching Paul Giamati and that's why I started doing that impression, just because I'm like, he's so good. And he's so, I believe these are ways, like, he's just so, like, the intensity and you, you know, you kind of know where he is going before he does, and then he can zig or zag and that's what makes him great. Cause you think you got him pinned down and you're like, oh.Michael Jamin (00:48:51):But, so what's interesting I'm hearing is that, so you have a platform, a stage where you can write, perform pretty much whatever you want to do, but at this point you kind of want someone else just to write for you. And I, I'll, I'll be, I'll just act, you know,Frank Caliendo (00:49:04):That's more of a, and I'll add my pieces if, if that's what you want. Like, I'll add a little flair or that, that's really more what I do wanna do. Yeah. I mean it's, it's, I dunno, I don't want the, this is gonna sound terrible, but it, I, maybe it is, maybe, but after having a couple shows that I developed or, you know, development deals that just fell apart and weren't what I wanted them to be. Mm-Hmm. , I just wanna be in somebody else's who's a real good fighter and go, let's work together. I like being part of a team. Right. And I don't wanna be on a team where somebody wants to do something completely different than me. Right. I don't wanna do that. But if somebody's in the same, in the, in the same wavelength and they're going, and you, you know when that is, can you just start having fun?(00:49:52):You go, that's what I was gonna say. And then you, you do it and they're like, I, I know. Don't even say it. I'm gonna do exactly what you're about to say. Mm-Hmm. , this is it. Don't worry if I don't, we'll shoot it again, but I know what you're gonna say right here. Cuz I saw the light bulb go on with you as soon as it on with me. Here we go. Right. So, yeah. I, that's, I wanna, I wanna be a part of somebody else's thing. That's really, and, and when people think of me, they think I wanna be a one man band. I didn't even wanna be a one man band on my own show. I, I, I, I just, right. I don't know. I, I like being something, I like being part of something bigger. And it doesn't, agents don't always understand that either, because agents a lot of the time, like, you could, you should do your own thing. I'm like, but if I do my own thing, then it's just about me. I'm sick of it being about me. How about it is about,Michael Jamin (00:50:41):I'll tell you this cuz this gets back to Spade, but I'm just, shoot me. He didn't wanna be on screen. If he wasn't, he wanted to hit a home run, walk off, stay stage. I mean, that was it. He didn't need to hang around. He didn't need to count lines, he didn't need to have storylines. He's like, no, just lemme hit a couple home runs and I'll, you know, I'll do what I need to do and then leave.Frank Caliendo (00:50:59):And, you know, and, and you and you're, you're better like that. You're, you're better because you don't look like you're hanging around you. People can't wait to see you come in. Yeah. People know that your part's going to be fun. Now everybody can't be that. You have to have people that are going to drive the show. Right. Right. Arthur on king of Queens. Mm-Hmm. , you know, he is gonna come in from the base and be like, I had no idea this was gonna be this way. By the way, he had one of the greatest Jerry Stiller came up me, I did the Seinfeld bit Montreal at the Montreal Comedy Festival. Uhhuh . Jerry Stiller comes up to me afterward and it's the greatest. Like, this is awesome. He goes, you know, I really enjoyed your show, especially the portion. And I was like, oh, that is, oh, thank you Mr. Stiller. He's like, now could you tell me where the bathroom is? ?Michael Jamin (00:51:49):HeFrank Caliendo (00:51:49):Just wanted to know,Michael Jamin (00:51:50):SaidFrank Caliendo (00:51:51):You just wanted to know when the bathroom was . And that was, I told j I told Ben Stiller that I told him that at, it was, I think it was after his father pass away. I did a show called Birthday Boys. And it was actually, it was, it was really a funny thing. But it was, he was playing a Robin Williams type teacher, dead poet society kind of teacher. Ben Stiller was, who was directed by Bob. Bob. Bob Odenkirk is directing it as a guest director. But it was so awesome. Yeah. see, there's go sir. So I, I, I told, I told that Ben Stiller just the moment he heard it, he's like, , like, like he was almost embarrassed. That's my dad. Like, that's just my dad being my dad. Like, I've been there, man. But I, I remember in that, that was one of my favorite things too. Well the, the thing they wrote is why I wanna tell you this too, was the bit they wrote was he's this, like I said, this dead poet society kind of teacher. But he's going, you know, he's, he's teaching outside the box and he's supposed to be teaching the Diary of Anne Frank, but he's teaching the Diary of Frank Kelly instead .Michael Jamin (00:53:02):Right. It's funny.Frank Caliendo (00:53:03):And, and it's, you know, it's a joke of making fun of me, but I was like, God, just to be in this joke. And Bob Oden is directing and Ben still is doing it. The birthday boys wrote it. It's like, oh. And I made Stiller laugh. Cause when Odenkirk kind of went off the script, he's like, just, he's having Mr. Stiller. No, he's having Ben just tell me. He's like okay. Adam Sandler at a, at a funeral. And I was like, oh grandma, where did you have leave? Where were you? I leaving And then Ben starts cracking up. He's like, I can't go. I can't go out. He stopped. He stopped. And I go, I just, Ben laugh on the set. Oh. I go, this is the greatest day of my life. And Stiller is like, let's get going. You know? He's like, no, he was, he was great. But it was so funny too cause it was a moment for me, like, oh, this is one of the people I look up to is one of the great reactors. Yeah. Like Ben Stiller as funny as he could be presenting somethi

This week Elder John Bowman challenges us to NOT miss Christmas. Not to miss the miracle of the birth Jesus and the miracle he can do in our lives when we fully surrender and let him in. Continue listening to find Jesus, encouragement, and Peace on Earth.

John Bowman, President of the St. Louis County NAACP, joins The Show to discuss why he believes some TIF money is being allocated to places it shouldn't.

Raphael Warnock and Herschel Walker have battled it out another month and now wait to see who will be Senator after tomorrow's runoff election. Plus, John Bowman of the St. Louis County NAACP talks about Dierbergs returning TIFs.

The President of St. Louis County NAACP with details about the organization's opposition to the tax incentive being given to Dierbergs to build its new store in Crestwood.

Jay is an Emmy-winning writer and producer known for shows like The Simpsons, Frasier, George Lopez, Malcolm In The Middle, and School of Rock.Show NotesJay Kogen's IMDB: https://www.imdb.com/name/nm0463124/Jay Kogen on Twitter: https://twitter.com/jaykogenJay Kogen on Instagram: https://www.instagram.com/jaykogen//Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAuto-Generated TranscriptsJay Kogen:Improv helps this to be able to risk. You don't know what's coming. You don't know what you're gonna do. And you commit to a character and you commit to an idea and you take it and see where it goes. It's no different than when you sit down to write a scene and you're about to commit to writing a scene. You might know where it's supposed to go, kind of. But this is what really, when it's time to commit to writing it,Michael Jamin:You're listening to screenwriters Need to Hear this with Michael Jam.Hey everyone, it's Michael Jam. Welcome back to Screenwriters. Need to hear this today. I got a very special guest that none of you deserve to hear. You're just not good enough. But if you , But if you do wanna listen, pull over. If you're listening to your car, pull over. You gotta, because this is a big shot in the TV world. So with my guest, I have Jay Cogan and I have to, You gotta know who this guy, this guy's been around the block. Okay. He started at, I believe he started on the Tracy Allman show. He wrote on The Simpsons, the single guy, The Wrong Guy. This was back when he told his agent he would only do guy shows and everyone's like, This guy's out of his mind. But then he did Frazier. George Lopez. You did the first. I was in the other George Lopez.You're the one people think I run a Lopez. Nah, not that Lopez or Malcolm in the Middle. And I'm leaving off half your credits. I'm just skimming through this. That class Happi divorced to Troop Wendell and Vinny Kirsty, which is where we worked together for 10 minutes. Cuz I was for the freelance episode that we did. But that was only 10, honestly. That was a real fast interaction. Then Ned and Stacy School of Rock. And then now you're doing, I guess oversharing and Renaissance. I wanna talk more about that and the new Punky Brewster. I don't know how that happened, I wanna know more about that. But, okay, so my guest is Jay Hogan and I gotta say, I never told you this, Chad, but my first job was on Just Shoe Me. And so I was a young baby writer and everyone that, on that staff, it was like Laan and Andy Gordon Con and Stephen Engel and you were one of these names that always came up. It was j Hogan said the funniest thing on Frazier. J Hogan did this. He came into the room, he did that and you were on, Honestly, in my mind, you were like this mythical character. And even at the time I was like, I don't know if it's j Hogan or Jake Hogan. And I don't want to ask because I don't.Jay Kogen:No one does. No one knows. It's true. No one knows. It's tooMichael Jamin:Bad. Just ask. TrueJay Kogen:. I'm still mythical. By the way, just so you know, you're still, I may or may not be realMichael Jamin:Mythical. Right? Mythical, Okay.Jay Kogen:Yeah. Now you said I'm mythical. I don't know. So you don't know whether I'm real or not. SoMichael Jamin:I don't know. I don't wanna find out.Jay Kogen:I dunno.Michael Jamin:But we'll get to the bottom of this. PeopleJay Kogen:Who are driving, who pulled over, thank you for pulling over , I appreciate it. I hope you're safe. Put your hazards on.Michael Jamin:I So Jay, I got a million questions for you, but I guess let's start with the beginning. Everyone wants to know, how did you break in to Hollywood?Jay Kogen:Oh, it was a really rough ride, man. My dad was a writer producer, and I asked him to introduce me to some of his friends,Michael Jamin:. And let's talk about your dad. AndJay Kogen:I took it from there.Michael Jamin:But he wrote, and he wrote on a bunch of shows like Mary Tyler Moore show. What else did youJay Kogen:Write on? He did, he read, he wrote a Mary Tyler Moore, I believe. He wrote a Mash, he wrote A New Heart and The New Heart Show, Bob Newhart Show and Newhart, he wrote on The Covert Show and the Dean Martin Show and the Jim Davis show and the Donny Marie Show. And he worked on Empty Nest and he worked on a million shows and wrote one shitty movie,Michael Jamin:DidJay Kogen:Do it. It's called a soupy sales movie called Birds Do It. And my father was telling me that he can't bear to watch it . He hasn't seen it since 19 causeMichael Jamin:Rewritten. Cause Soki re rewroteJay Kogen:It. No, he wrote it completely. No, it's his fault. He's saying he's, it's horrible and it's his fault.Michael Jamin:But you grew up around it. So I thought you were from Brooklyn, but you grew,Jay Kogen:I was born in Brooklyn and my dad moved from Brooklyn. He was working on the Tonight Show with Johnny Carson. And he moved out from Brooklyn to come work on the Dean Martin Show in 1968. Jesus. And that was my first experience on a sound stage, was on the Dean Martin Show on a Christmas episode. And it said, Ah, this looks like a fun job. Little did I know that writing is not a fun job. Writing is a really unfun job.Michael Jamin:People don't realize that. But what was it? So what was it growing around it? Did you talk shop with you? I don't know. TalkJay Kogen:About I, my talking shop was gonna be limited . But even whenMichael Jamin:You got older, did he tell you how to write a script?Jay Kogen:No. I mean, here's the thing. You grew up in a family that I'm sure was a funny family. No question if you're funny. You grew up in a funny family. My father,Michael Jamin:My dad invented comedy , he told me he made it up.Jay Kogen:So my father and mother are funny and if I try to make a joke at the table and get them to laugh, it was a great victory. So you'd hone your skills to make people laugh at the dinner table or on the living room couch. And that's kind of your writer's room training. And that's how you sort become the jokey guy in high school or junior high and become the jokey guy. So jokes, jokes were stock and trade in my house and my way to win my father's affection. So I tried to get good at it,Michael Jamin:But you still had to learn story structure, you had to write a script.Jay Kogen:Well that sucked. It took me years to do that because I was done. I had money. Most writers, we had jokes, but we didn't really understand story structure at all. We thought we knew it was funny and we thought, oh, just put funny stuff down and that'll be enough and that is way wrong. But that's what I thought. And I wrote some spec scripts and handed them to my dad and he said, This is terrible. Become a lawyer. He would say, Do not try to become a writer. This is awful. I wrote with some successful writers today who I work with in school. The Billy Ray who was at Academy Award and nominated writer and Robbie Fox and mm-hmm , Wally Wolodarsky became my partner at The Simpsons and Tracy Ownership. And we wrote all the time. And my father would read these scripts and go, These are terrible.Do not get into the business. And so eventually I started working on PAing, on TV shows, getting people delivering scripts at three in the morning and getting people lunches, . And if I got it wrong, they'd scream at me and mm-hmm , all that kind of stuff. But I would learn, sit in the writer's room and watch them work out stories and figure out how they did stories. So that process was really enlightening. And so my partner and I, I tried to write a script and we wrote a script with a, it's for it's Gary Channeling show. Mm-hmm worked out one of their stories, which were always strange. And we did that. They kinda liked the script but they didn't buy it. And then we wrote another one and they didn't buy that. But then that became a sample that we got a job at the Tracy Allman Show from. And that's how it worked. And at the Tracy Allman show, under Heidi Pearlman and Jim Brooks and Sam Simon and Jerry Bellson, I started to learn that drama had a big part in comedy. And so there wasn't just jokes, it was jokes and story and characters that you cared about and situations that had impact and stakes and all those kind of things that you know about when you're a kid. But you ignore it and go like that. What's funny?Michael Jamin:Yeah. Right. It's so funny cuz I talk about this all the time. I wanna say you're gonna confirm, I guess hopefully. Or maybe I'm just an old blowhard and I just sound like an old frank. But I have a feeling you're gonna confirm a lot of stuff that I say. Cause I'm always like, no, the story's the most important thing. Jokes cut. You can always interchange the jokes. And people don't quite understand that whenJay Kogen:You can be a blow heart and also be right. So , those two things are not incongruous. But yes I will. When I talk to writers, I say that the story is first, character is second and jokes are third that you need the story is the hardest thing. Breaking a story is in writing is the hardest thing. Breaking a story, breaking it, making it sure that it pops, making sure that we're not going down stupid roads. That's the hardest thing. Everything else, the jokes are the easiest thing honestly. And the most replaceable thing, you don't like a joke, we'll cut it out and put a new joke in a character as they're very important. But sometimes you write something you realize, oh I have two characters that are the exact same person, and I, I'm gonna condense them into one person. Or I have characters doing the same, serving the same purpose in the story. And that's not a good idea. And so the story has to come first and that's always the most difficult thing. I always recommend to all writers, , outline your shit. Outline what you're gonna do before you're write. Show the outline to somebody, , get feedback on it before you waste your time writing a script on a story that's not gonna work.Michael Jamin:So that that's exactly right. I have to wanna bring this up cause I don't wanna forget this, but cuz my partner and I came in, we wrote, we did a freelance on the Kew Show, which we were on . And I have to say it was one of the most enjoyable experiences cuz it was like the last time, I mean I want to hear your thoughts on this. It was the last time I really was in a writer's room full of writers who had more experience than me because now it seems like I'm the old guy in the room now I'm the veteran guy and I really enjoyed working. YouJay Kogen:Made that in your brand, you were now that's your brand, you the experience guy . Yeah.Michael Jamin:But it was so much fun cuz you get to hear other people's stories, you get to hear their wisdom. There was so many heavy hitters in that room.Jay Kogen:Yeah, that was a fun room. I mean I've had a lot of fun rooms. The rooms are still fun when I go and do them. So like and am the oldest guy in the room now maybe, but I'm not sure sometimes. Depends on the show. But I've certainly been around a long, long time. So I'm going on, it'll be 40 years soon. That's a long time.Michael Jamin:Yeah, it is a long time. Yeah. So what do you accredit your longevity to? Is it you're getting your last three jobs basically?Jay Kogen:Well, the same way I got my first three jobs. It's sort of praying, meeting the right people, saying the right thing, wandering into a stupid situation that you didn't know about. And suddenly they have job so not organized. And so this, they're these jobs and you should, you're going to audition for these jobs and this is how it's a much more hazardous, haphazard. There's a show here and they may need somebody and you should be developing something here and you have a million irons in the fire and we'll see what happens.Michael Jamin:So you're constantly hustling. So it's not like your agents just setting this up, Oh hey, they wanna hire someone that you fit the bill. Right? I mean it's not as easyJay Kogen:As that. No, rarely that rarely happens. And sometimes it does. But I mean honestly demographically, I'm not the key kind of person that they're looking for right now. . And there's a million reasons for that. I mean we should talk about that. There's a need, There has been a desperate need to make the playing field equal to all people from all different backgrounds and for many, many years, sort of Jewish white guys, Had a preference. So we're now the guy like me, Brooklyn Jewish, Brooklyn Encino Jewish guy is, there's a dime a dozen, there's a lot of us . And then there's a brand new writers coming from different areas of experience and worlds and different backgrounds and more women and more people of, of uh, LGBTQ and more bipo people. And they all need a chance. They're sort starting to get a chance. And that means there's less room for people like you and me. And there's shorter pickups and there's smaller rooms. And so it, it's become a lot harder.Michael Jamin:It's a lot more hustle. And so you're also developing, how are you going about developing? Is it your own ideas or what are you doing?Jay Kogen:Some are my own ideas, some are ideas that I have with other people that I meet and I think, oh that's a good idea. Let's see if I can fix that. There's a pilot we're working on called Oversharing that's based on a play that I saw at UCB about a year and a half ago. And so we took the characters and the lifestyle of the characters in the play. The actors were also the writers. So I went, worked with these two women in their late twenties about what it means you toMichael Jamin:Be. So you approach them, you approach them, you say, Hey, I wanna develop your show.Jay Kogen:Yeah. Yes. With the help of Naomi Odenkirk, who is a manager, not my manager, but had called me in to, had seen this and I wanted to work with her and she said this is a good thing. So she matched me with these people and we've been working on this together for a while. And now we wrote a pilot and we're sort of seeing where it goes.Michael Jamin:So, Okay. That's interesting cuz sometimes people, you write the pilot first you go out with a pitch but you decided to write it first.Jay Kogen:Well here's the thing, we had a couple different things going on. The writers who were the actresses who did this didn't have writing samples, but they wanted to be part of the show. So to prove that they are able to write, they wrote, so this is their first episode and they'd like to be in it too, but maybe we'll sell it without them in it. But this is to prove proof of concept. Here's this thing, we may not use it to sell the show, we may,Michael Jamin:And you kind of just oversaw it. You didn't help with the writing, you just directed them a little bit or noJay Kogen:. Well we pitched out the story together. I taught them kind of how the story structure's gonna work and and bring their play into a series. That whole transfer from interesting series, I guess I would get it developed by credit, something like that. But I didn't write the script. I helped rewrite the script, but I was involved heavily in the creation of it. So mean, my goal in this kind of thing is not to put my stamp on it. My goal is to take their world, their idea and bring it to life. And so the second I'm of putting my 50 year old guy brand on her, their 20 something life, it's gonna get ruined. So I just have to sit back and appreciate the world they're creating and then give my input here or there about maybe steering in certain directions and maybe this is what makes it fun of your story and reminding them what their goal was and who their characters were. Sometimes you'd lose that track of that.Michael Jamin:So how do you feel young writers have changed now? How are they different now than in attitude and preparedness andJay Kogen:Everything? So much dumber.Michael Jamin:So much dumber. ,Jay Kogen:They're the same. I honestly feel like they're exactly the same. Different, The writer's rooms are different. What we're allowed to say and how we're allowed to behave is different. Yeah, I'm not going to say it's better or worse. It's just different. In the old days, we could make fun of each other. . And I was famous for doing room jokes. I did jokes, a lot of jokes in a writer's room. Sometimes people would say things and I would die. Sometimes people would say things and I would run out of the room so that you could see me in the window and just keep on running. And if my car was in the visual aspect of when I would get in my car and drive away, I would do a lot of jokes. I would get physically ill at something that if I heard two people were kissing or something, like I would do jokes, , all of which was based on the idea that they know I'm joking.So I could make a joke about somebody who knew I was joking. I could make a joke about them or what they were wearing that day and they knew that I love them and I'm joking, right? That's not okay anymore. You cannot depend on people to understand your intention or even give a shit about your intention. If there's a joke at their expense, you're in trouble. So you don't joke about stuff anymore at anyone else's expense. We don't joke about their background, we don't joke about where they're from or who they anything about their lives. We keep it nice and businesslike and then we just try to do the work. So writer's rooms have become, ultimately for me, a lot less fun and a lot more, I wanna make a joke and I'm like, I can't do it cause I don't want to offend people, but I also don't want to get in trouble.And I think younger people can be offended. I'm, I'm working with some college kids now. I was teaching a class at USC and as a college professor, you have to really be on your, you're, this is not a writer's room, this is a school. But those writing students I'm working with all seem like they're making jokes all the time about all things. So they're more like I was when I was a young person, but I'm not making those jokes because I'm a professor. So I, I'm kind stay out of the realm of anything close to offensive or dirty or strange or anything.Michael Jamin:That's interesting. I didn't, didn't know, butJay Kogen:There's insane, I just wanna make jokes.Michael Jamin:I didn't know you were teaching at usc. How long have you been doing that?Jay Kogen:Half a minute. Oh, I had John Bowman, the writer, John Bowman was a friend of mine and he was teaching a sketch writing class and he unexpectedly died, which is good cuz when you expect to die, allMichael Jamin:Doesn't worse worth.Jay Kogen:So then they asked me to step in to fill, fulfill, fill it, the class that he was teaching. So I started doing that.Michael Jamin:Right. Wow. And I also know you, I didn't, But you're also doing, you do improv.Jay Kogen:Oh yeah, no, I've been doing it for my whole life. I started at the ground when I started in show business, my goal was to not be a writer. My goal was cause writing seemed, I watched my dad writing is lonely, it's quiet, it's intensive. , it seemed hard. I like working with people, I like having jokes, having good times. So I started being an actor and a standup comedian. And then when I was 16 I was, when I was a kid, I was an actor. When I was 16, I was still trying to be an actor and doing standup. And then I transitioned over to the Groundlings, which was a much better atmosphere to be part of than the improv or the comedy store. And I sort of figured out what character and story was based on that. That helped a lot. By the way, I do recommend that if you, you're a writer to take acting courses and take improv courses because you'll learn a shit ton of what you need to know. about being a writer. The other thing you need to do is take editing courses. If you can take a course in editing movies or editing TV shows, you'll learn what's important to keep in your script and what's not important to keep in your script. I didn't know a thing until I started editing.Michael Jamin:Do you have, But anyway, is there any goal, Is there a goal for you for, Are you just getting up there and performing is,Jay Kogen:What do you mean?Michael Jamin:Is there an end to it?Jay Kogen:You want, I'm hoping people throw roses at me. That'sMichael Jamin:My goal. But I don't know. Do you want to turn it into something or do you just enjoy the process of getting up there and performing?Jay Kogen:It's improv is cult a cultish comedy religion. So you do it because you learn the skill. It's like if I was a Glassblower and suddenly I learned how to make little glass animals when I was 16 and I still know how to do it and I like it. So I'm doing improv then the goal is to stay loose, keep your mind fresh. It helps improv helps this to be able to risk. You don't know what's coming. You don't know what you're gonna do. And you commit to a character and you commit to an idea and you take it and see where it goes. It's no different than when you sit down to write a scene and you're about to commit to writing a scene. You might know where it's supposed to go, kind of. But this is what really, when it's time to commit to writing it and there's a blank piece of paper and you have to be the character who says this other thing, then turn your mind to the other character that says this thing and what are they thinking and how are they acting and how are you being, and what does the scene look like and how do you fill the space with physicality and all the things.These are the things that you learn from improv and these are the things I still love doing it because it keeps me fresh and reminds me of that. It's fun to create.Michael Jamin:And how often do you go up?Jay Kogen:The group that I'm working with now go the Transformers. We go up about once a month and then I'm also an improv whore. And I will appear with any other improv group that asks me. Usually the Groundlings has a show called Crazy Uncle Joe and I do that sometimes. Or cooking with gas or sometimes I guess with another group. So it's just fun to work with different people inMichael Jamin:When you do that though, I mean, I know it's improv, but is there any kind of rehearsal with these people? Or are you up there for the first time with these people you don't even know.Jay Kogen:Again, it's something you've learned. You started by taking courses and saying, okay, this is how you do it. You agree , You know, pretend that you're stand up there and pretend that you're a bumblebee. Right. Okay. What would a bumblebee do? Bumblebee might go from flower to flower. A bumblebee might pollinate a, you just put your mind into the thing. So you slowly work up from the beginnings of improv, which is just agreeing. Then you're in a scene with another bumblebee and now you have to figure out what does one bumblebee want and what does the other bumblebee want in the scene. And you're a skill you develop to listen to what other people are saying, agree with it, add information, have an attitude, have a goal, and don't talk over each other and be physicalize the scene. These are things that you learn how to do over time and if you get good at it, you can do it forever.Michael Jamin:Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not gonna spam you andMichael Jamin:It's absolutely free. Just go to michael jamin.com/watchlist. All right. So yeah, you were working, you knew , Tom Maxwell, and you're gonna tell that story.Jay Kogen:All right. So yeah, Tom was the runner of director of the Groundlings when I was there, and he had a very distinctive laugh and very distinctive kind of from one of the Carolinas, I forget which one.Michael Jamin:Yeah, I think it was North. Yeah,Jay Kogen:North, I think so Carolina. And he was great audience, a great audience. He loved the laugh, was wonderful to have. And he's the guy I interviewed with to get into the Groundlings to start working at the school. And then I worked starting at 16, I started doing the school and didn't get into the Groundlings until I was 18.Michael Jamin:Oh, interesting. Wow. So you really did the whole training there and that, Wow. Yeah,Jay Kogen:And there was the training we,Michael Jamin:I'm sure it was, I actually took a, So Tom was a writer, I think season three of just shooting me. And then he went up co-running it in the later years. And I remember he came in the first day, This is how important improv is. It's like the first day we're breaking a story and I guess he was just showing off and he just starts acting out the scene and doing all the characters. And I was like, look at this guy. Go. And we were all just staring and the writers says, We're all just staring. And I shoot the writers, I was like, Dude, what are you doing? Type start typing because everything he's saying is going into the script.Jay Kogen:Well, I've seen a lot of writers do that. James Brooks, James L. Brooks is able to do that. Just pitch out a scene from top to bottom. I mean, it's amazing. It's not, it's downgrading it. It's amazing when people can do that. But yeah, when we were at The Simpsons, we would pitch in character, People would pitch as Homer, pitch as Marge. We were , we used the voice and we were that. So it trains you to sort of pitch a joke and risk having everyone hate itMichael Jamin:,Jay Kogen:And by being improv,Michael Jamin:But it's also when you pitch a joke and it bombs, at least then you improv a funny back, a backup to it.Jay Kogen:I guess you can save yourself by acknowledging the bomb or not acknowledging it. It depends on how late its sometimes. Yeah, sometimes there's just silence. . Right, Let's move on, let's go pastMichael Jamin:It. Tom used to get very cranky around 8:00 PM I think is my bed. , you gotta work till midnight or whatever.Jay Kogen:Some people can't do the late nights.Michael Jamin:Yeah. Well so how do you go about, even other than working with these other actors, how do you go about developing shows? Do you have a process? What do you think?Jay Kogen:Well, anything that inspires you, and then you check it out with your people and say, Is there a show like this already in development? Or do we think that we can attach good people to this thing? So have to figure out how to position it. You have an idea then how do you position it? Who's it for? Can you create auspices to join forces with you to make it a more powerful sale? When's the right time to sell it? All those kind of things go into the mix of that kind of stuff.Michael Jamin:Yeah. And so what do you usually try to team up with a producer? Is that what you, I mean?Jay Kogen:Right. This Oversharing project is now with Sharon Hogan's company called Merman Mer. So, so they, especially women's stories. And this is a women's story and it's like it's a good company when you're dealing with the story of women in their late twenties in the sort of dismal landscape of what life is like for them.Michael Jamin:. Right. That's so interesting. Yeah. And so, what was I gonna say about that?Jay Kogen:I have a show that I'm writing with that I'm helping some newer African American writers with, and we're trying to get Kenya Barris to sign on to be part of this thing. So he's a good auspices for that. And then I have a show about Jewish boys from Encino and Mel Brooks would No jokingMichael Jamin:About it. Nope, that'd be great. Yeah, I worked with them. I worked with them on Glen Martin. You brought 'em in. I damn, I'm directing Mel Brooks. It was very intimidating.Jay Kogen:Now Mel Mels not intimidating, he just won't shut up. But ,Michael Jamin:It was still like, I'm telling him directions. Who might be telling Mel Brooks how to play the line? Well,Jay Kogen:If he didn't like, like your directions, he'd tell youMichael Jamin:,Jay Kogen:Yeah, I don't wanna do it. I'm gonna walk over here. Gonna,Michael Jamin:Yeah, there was definitely the case. I remember I like telling him, ask him to get him again. And he goes, No, no, you got it the first time. I'm like, Sounds good to me. .Jay Kogen:We worked with him on the Tracy Oman show and he had a million ideas about what he wanted his character to do and we was just like, Okay, go for it.Michael Jamin: Mel Brooks. Wow. Well, so wait, I had a thought, butJay Kogen:To go back to your original question, how do you develop something? Call Reiner the great Carl Reiner speaking. Bob Brooks gave me advice and he said, Figure out the hill. You're standing on that only the vantage point that only you have and make a show about that. So interesting. Make it about your world or your point of view or your, something that's really on your mind that only you can see. And that was his advice. And I thought that was good advice.Michael Jamin:And we hear that a lot. It's like, why are you the only people to write this show? And then you gotta think of a reason.Jay Kogen:You have to lie and say, Well , this happened to me or this is my thing. But obviously when you're a writer, you're bringing something that's personal to you. It doesn't have to experienced the thing to have experienced the emotion that the thing is connected to. Sometimes the show is about love or sometimes the show is about abandonment or sometimes the show is about lack of credibility or the show is about ego and the specifics of the show are not necessarily the specifics of your life, but that's something that you're very aware of and something that's meaningful to you. And if it's meaningful to you, then it's gonna have a resonance that's gonna count. And that's what I try to do when I write something. It's because I relate to it and I feel it and I feel like there's a truth in it. Right.Michael Jamin:These are all good words. And how did you, let's say a show, the remake for Punky Brewster, how did you get involved in that? I'm always wondering how thatJay Kogen:Happens. My friends, Steve and Jim Armita had created it and produced it and I'd worked with them on a show called School of Rock and they hired me to help them. I mean that was it a friend a I not, I didn't know anything about punk. Brewster hadn't watched it. Oh, I didn't, no know much about it, but I got to know about it. And so then we tried to make, it had been the development for many, many years. Universal was trying to use their own properties and make something of it. And so that's what happened. It sort of came together over the course of five years.Michael Jamin:Wow. See it takes how long it takes.Jay Kogen:Yeah.Michael Jamin:And now people, I get this question a lot. I don't know if you have a good answer for it, but do you have a preference to do single camera, multi camera animation?Jay Kogen:Well, I think it's harder to sell a single camera show. Everybody wants to buy. Every network says they wanna buy a single camera show, but then they don't always buy mean, excuse me, Every network wants to buy, say they wanna buy a multi camera show because it's cheaper, but they always wind up buying single camera shows because they're cooler. And so I'd rather sell the show that gets made. And so right now I'm interested in selling single camera shows. However, I love Multicam. I do like the process, I know it. But I watch many Multicam shows going like, Oh that's great. Tv I think the single camera shows are better cuz they're more like movies. You don't have to lean on jokes quite so much. It's more about the story. If you tell the filmically there's no laugh track. So it's just funny is, and it's different experience. I don't know you when the Multicam, if it will ever pop back as a main force. But it's, seeMichael Jamin:It'd be nice. Now you, I didn't look, Have you done any direction directing?Jay Kogen:Oh yeah, I love directing.Michael Jamin:Oh you do?Jay Kogen:Okay. It, I would give it up to just directMichael Jamin:Really What You like it that much. A lot of guys, guys haven't given up to. Why do you like that more than writing?Jay Kogen:It's collaborative. I'm not alone in a room, I'm given, I have material sometimes I've written the material so I know the intention. But I like working with cameras. I like working with the actors. I'm an actor, I'm an old actor. So I like acting and I like actors and I like working with them and figuring out the big picture and figuring out, making sure that all the pieces in the editing room are there. Having edited many shows now, knowing, okay, we need this reaction and that reaction and we get, this is the joke, this joke needs to be close or this joke needs to be wide or let's have a choice. Those kind of things are great. And when I've directed film, single camera, film action things, they've been great. I love using the camera, I love using stunts, I love using and anything that I can envision. I love storyboarding stuff and making them happen.Michael Jamin:Who do you feel you've learned the most from? What directors have taught you the most?Jay Kogen:Hitchcock, I mean,Michael Jamin:. Sit. Come guys. I hate say,Jay Kogen:I mean they're all great. I've learned from every single director we've worked from, I've been lucky enough to work with Jim Burrows and I've been lucky enough to work with,I mean there's Victor Gonzalez and I've been working just all these directors who know what they're doing. A guy named Jonathan Judge who I work with , who'd really just knows what he's doing. He knows the feeling, he knows how to keep the set alive and people happy. And there's a lot to do when you're director and what and when you're TV director, you're really trying to fulfill the vision of the producers , which is great. And when I direct even on shows that I've executive producing, I'm asking my other writers, Do I have it? Are you good? Are we satisfied? I'm not just saying I got it and I want everybody's opinion. I want to change things if people don't have it. Cause we are only here on the set this moment. I wanna get everything we need to get. And I like being collaborative and I like hearing notes. Unlike when I'm a writer, when I don't want to hear notes. As a director, I love hearing notes. Interesting. I love adjusting. Can we get that? Yes, absolutely. Let's go for it.Michael Jamin:That's so funny you say that. Yeah. Writers writers don't like hearing that. Don't the same way. I don't want to hear your notes hard.Jay Kogen:I thought about it maybe the thing that I liked and now you don't know whether it's gonna work and neither do why, but let's go with my way. Yeah, that's the general feeling.Michael Jamin:And how do you mostly handle Jesus studio notes or network note. And when you turn in a draft from a pilot or whatever, what's your first instinct?Jay Kogen:My first instinct is to tell them to fuck off. I hope that instinct . And instead I say, Well that's a good note. Or I put them into three piles, Notes that are good notes and sometimes I get really good notes. Notes that are neutral notes that are just like, you want to go that way versus this way. And they're kind of the same but alright. And notes that are show ruining. So the only notes I will fight about are the show ruining notes,Michael Jamin:,Jay Kogen:Everything else. I will say thank you and what a great idea and I really appreciate it and I will, cause I wanna be collaborative and I wanna take it, if they think a green couch is better than a blue couch, then if we can get a green couch, let's get a green couch. Yeah, that's fine. WeMichael Jamin:Call those lateral notes. This note will move the script three feet to the right. It's gonna take, I'm be up all night doing it and alright, I'll do it.Jay Kogen:Just do it because they need it and they want it. And it doesn't hurt the show. The ones that hurt the show. You gotta say, now I don't tell me about that. Because I think that thread that you're pulling ruins the show. And so let's talk about the thing about it. If it's a story about somebody adopting a dog and then the dog ruins their life and they say something along the lines of, But maybe the dog is nice. And you go like, Well if the dog is nice, then there's no show because then we don't have the conflict that's at the core of this particular thing. So we're just throwing out the whole show based than that and this, Well, why do you want the dog nicer? Well it's too mean in this thing. So we can then distill moments where they think, okay, it's not having fun watching the dog X, Y, and Z. Let's change those things to be things that are more fun for the executives or other people to watch. Then we can save the show but not do the show ruining note.Michael Jamin:Right? Because often you'll get notes from people who don't have much experience in the business and they just have this job, they're giving you notes and you don't want to hurt their feelings, but they don't know how to do it yet. So it's a delicate dance.Jay Kogen:And also they're not idiots people, the network executives, every writer likes to think a network executive, they're all idiots have decided to do this other thing. But they could have been writers and they might have been writers in another life and have, the reason they went into it is because they like TV and they like stories and they have an opinion. So embrace them as your partnersMichael Jamin:That'sJay Kogen:Try to make them your partner so that you have a happier existence with everyone.Michael Jamin:We both work with Steve Bald Ows and I was surprised to learn that he was an executive for many years. I was like, What? I felt like you've been a SP these years.Jay Kogen:I didn't know that, but I'm not shocked he has. You didn't know that leader of an executive? No, didn't he? I would a hundred percent believe him in a nice sweater coming in work as an executive. Great.Michael Jamin:Yeah, I get that. I was shocked. But he told me he thought it was his opinion that all executives really just wanted to be writers.Jay Kogen:I think he's right that all they do. And when they give notes, they're saying, What if this is a great idea? They're hoping that you receive their note. It's like, oh that's what a great idea. Thank you for helping me write the show. And so I actually try to receive those notes that way as much as I can.Michael Jamin:It's kind of like you also building an ally. It's like the more people you can have think it's their show, then they're gonna help put it on the air and stuffJay Kogen:But not think it's their show. It is their show. They're the people who are shepherding it through the network. They're the people every, it is their show. It's not like it's not us and them, we are them, they're the same people. We have to be a team in order to survive how it's such a weird ass landscape of getting a show on the air and having anybody know it exists and having people see it. So you have to get them their publicity people involved and the network has to like it and put it in a good time slot and care about it. And it's so easy to get lost. You have to take care of your show. You have to really do a good job of bringing it through and get as many allies as you can.Michael Jamin:And how do you recommend young writers basically break in now? I mean, cuz the landscape is so different now. What do you tell people?Jay Kogen:It's the same. Write something great, keep writing something until it's great, then show that thing to everybody you can. It hasn't changed. Nobody wants to be a salesman when they become a writer, but unfortunately part of being a writer is being a salesman. And so you have to then suck it up and make call people and in a friendly way and get them to read your script. Obviously you call and say, I love your work and will you do me this favor of reading my script? And I would love your notes. Nobody wants your notes. They only want you to say it's the greatest thing in the world and I love you and I wanna hire you. But show your script. Sometimes you'll get notes and sometimes you'll get compliments and sometimes you'll say, this is terrible. And then start again and you know, have to really work hard to get through it. Plus meeting people and expanding your social circle is really important. So fighting a way to join groups and be part of schools or be part, not schools exactly, but be part of communities, professional groups and communities and find your way to expand that way.Michael Jamin:So you told people basically to come out to Hollywood too?Jay Kogen:Yeah, I mean I don't know how you're gonna do that from Des Moines. I meanMichael Jamin:H is not coming to you.Jay Kogen:Although if you live in Atlanta, if you live in places where they're making TV shows, it's possible.Michael Jamin:But they're still mostly doing the writing out here, aren't they? AndJay Kogen:Yeah, but there are lots of production, lots of people. And you can meet people and I don't know, it depends on where you're at. It's, there's a few places where production, you know, can live in New York City. You can live in Atlanta, you might be able to, Toronto and Vancouver. There are places where a lot of shows are being made, so maybe there, but LA is still the place to come, even though it's not, it's hard place to move to. It's expensive and weird and isolating and there's a lot of big parts about it.Michael Jamin:Yeah, so interesting. So great to get your take cuz I don't know, you're kind of saying so many things that I've said, but it's good to hear different.Jay Kogen:Isn't it great to hear somebody confirm all your ideas?Michael Jamin:I'm not crazy.Jay Kogen:Everything you've ever believed.Michael Jamin:Well, I have such strong opinions on when I talking to people and I'm like, wow, I could just be stubborn, but this is how I see it. But yeah, it's interesting to hearJay Kogen:You. But I mean it is new and you know, gotta write something new. And if you can get attention to something, if you can put up a show or make a , find a way to get attention to your project, to YouTube, short films, Make something on the TikTok and find out a way to be available and get your stuff out there, then you have a shot. But it's hard. It's hard. I mean it's hard once you have a show on the air, you're your old boss. Levitan has a show called Reboot that's on Hulu, I think. Yeah, I don't know who watches it because who knows It exists. It's probably, you have great cast and an esteemed writing team making it and it will come and it, unless people hear about it, nobody will know.Michael Jamin:Yeah. And one thing I also wanna stress for new writers is like, we're struggling too. We're hustling too. None of it's easy. None of it's guaranteed. It's working it to, I always say you gotta work to break in. Well, but it's too hard. Yeah, don't tell me it's too hard. I know I do it everything.Jay Kogen:It is a struggle. And you sort of want gigs coming, possible gigs come and then they go and then they don't happen. And it's hard to get in the rooms and it's all that kinda stuff. And when you're running a show, which I recently, I had a show that I was getting a writing staff for. I had a million phone calls from a million people saying, Hey, you got room. And I had to tell a million of them no. Right. Great people, really great people that I had to say no to because, And so when they say no to me, I understand why it's not the makeup of the room that that's going to make the studio happy. They have to make up a room that's going to make the studio happy. And there's only a limited amount of spaces for people like me. And that's a lot of us who need jobs. So it's an interesting time for that.Michael Jamin:So is there anything else? Is there, we can plug you. How can people follow you? I'm so grateful that you did this talk. I'm so interesting.Jay Kogen:My plug Jake Hogan at Twitter and Jake Hogan at Facebook and Jake Hogan at Instagram. And I have a TikTok account, but I don't post anything there.Michael Jamin:You don't know how to use it.Jay Kogen:I don't know how to use it and I'm not interested in making Little, Little,Michael Jamin:I think you should doJay Kogen:It. I did a dance.Michael Jamin:I think you should do it. Yeah. Get on a trending soundingJay Kogen:Right. But I do, every Friday we do something on my Twitter feed called Philosophy Friday. So on Fridays around four 30, I have a bunch of people we use. IMichael Jamin:Gotta follow you on that. I didn't know that. What's about,Jay Kogen:Well, we just talk about the life and love and fear and how to overcome the difficulties of the world. Usually I post a question for the week and we can talk about that, but people can also come and just talk about their problems. Now Twitter is famously the most vicious and horrible of all the social media. So my idea was why can't we have a little window of people who are actually nice to each other and care about each other and try to help each other on this platform of shit. And so that's what I've done and I've almost three years into this and know that it's been fun.Michael Jamin:Wow. Alright, so some people can get in touch with you. That's that's really cool. I got, now I'm gonna be following you on that.Jay Kogen:Interesting. And then if you follow me on my social medias, you can see my improv shows when I do them. And yep. You can also follow all your followers. Should listen to Charlie Cogan, who's my son, who's a musician and he just released a new record and I want everybody to hear it on for sure. Or Apple Music or Amazon or wherever it is. Charlie Cogan, K O G E N.Michael Jamin:Excellent.Jay Kogen:Jake, Not Jake Ogan. It's Jake Cogan and it's Charlie Cogan. SoMichael Jamin:Yeah. I'm glad you cleared that up by cause I was too embarrassed to ask. And what kind of music does he do?Jay Kogen:It's mostly Zither music. And what is that? It's just pop, Pop Zither is a terrible, strange instrument. No, it's just pop music. It's really great pop music. I don't know if you like, Do you like Ed Sherin? Interesting. Something like that, butMichael Jamin:Not, And so he doesn't wanna go into comedy Ready?Jay Kogen:He might, He's really fun. He might and worked on stuff together. But he's really talented musician and he's sort of honed his skills as a music songwriter, singer, music producer. And those are, he's ready to go on that level. He's not good for him ready to go as a comedy writer yet, but he could. Right. Wow. He's college right now. He's studying, so we don't really his sing, his singles come out intermittently, but he's while he is at college.Michael Jamin:Oh good. Well let's make him happen. Go listen to him on Spotify.Jay Kogen:Charlie Cogan. Yeah.Michael Jamin:Yeah. Jay, thank you again so much. This is good for me to hear. I dunno if anybody else heard it, butJay Kogen:It was great to hang with you. I'd heard a lot about you and I've seen your videos on the Thes and the weird Instagrams, and that's been amazing. How do you, did you decide to do that stuffMichael Jamin:After we get off the air, but basically I was telling my manager, I had a call him the other day and I was telling him what I was doing. He goes on TikTok, he goes, Oh, I know people forward me your videos, . They go, Have you heard of this guy? I was like, Yeah, my client . But yeah,Jay Kogen:It's interesting and I think it provides a valuable service, but it seems like it would be a little bit of a time suck, but also just there's value on the other side of it.Michael Jamin:Yeah, yeah, yeah. I'll talk more about it. But thank you so much. Everyone. Go follow Jake Hogan and his sonJay Kogen:And ask me questions. You can reach me at any of these places and I'll answer your questions for free, just like Michael does. How do you like that? What Michael does that I'm gonna start and I'll agree with him on everything he says.Michael Jamin:, please. I need it. All right. Done Next time. Thank you so much. And oh yeah, Thank you so much.Phil Hudson:This has been an episode of Screenwriters. Need to Hear This with Michael Jamin. If you'd like to support this podcast, please consider subscribing, leaving your review and sharing this podcast with someone who needs to hear today's subject. For free daily screenwriting tips, follow Michael on Instagram, Facebook, and TikTok @MichaelJaminWriter. You can follow me on Instagram, Facebook, and TikTok @PhilAHudson. This episode was produced by Phil Hudson and edited by Dallas Crane. Until next time, keep writing.

Jeff Shafer, CEO of CommonGood Capital, is joined by John Bowman, who serves as Executive Vice President for CAIA Association, to discuss his start in financial services, his eye-opening 14 years at the non-profit CFA Institute, how CAIA protects clients through education and advocacy, the importance of a stewardship mindset, his controversial thoughts on ESG, and much more.

Elder John Bowman wrapped up our sermon series, Family Vacations, last Sunday with a powerful message. While the message was powerful and reached us adults, the concept was simple enough a child could understand. It's as easy as ABC ... Continue listening to what the ABCS, a bike, and a bucket all have in common with a believer.

John Bowman is executive Vice President of the Caia Association, and a prolific writer and commentator on the investment management industry. He has written about the subject of culture, restoring the virtuous reputation of the industry and ensuring that dialogue and education are maximized, particularly in the area of alternative investing.Our conversation starts with his thoughts on being a "man without a country" - his peripatetic youth and how having family in the investment management industry formed an impression on him from an early age.  We jump straight in then to a host of issues on which he has a unique vantage point at the helm of an industry association committed to education, dialogue and ongoing improvement. We start with the controversial topic of alpha generation - whether it remains possible in an environment that is flooded with data, quickly updated news cycles and crowding out of certain strategies.  We focus in particular on the future for alternative assets - how these strategies are evolving and what are likely to become the most relevant strategies for the next decade.We move then to the critical area of culture within the investment management industries and firms in particular - looking at the divide between investment-led and sales-led firms and what an aspirational culture for the industry as a whole might be. We move then to the disruption that Covid wrought and how that has altered the state of the investment management industry and to the increased integration of ESG risks and evolution of ESG-focused strategies. We end then with a reflection on the mentors that have shaped him, the importance of faith in his life and trusting his own instinct. It is a wide-ranging discussion with particular relevance to the dynamic times we are living in.Series 4 was sponsored by Alvine Capital.  Founded in 2005, Alvine Capital is a specialist advisor and placement boutique focusing on assisting European Institutional Investors within Alternative Investments.  It partners with best in class managers, adding value to investors by helping to navigate this very fragmented market

This week the word is recombobulation, and it's a week of random topics for the nerds, including: Keith's recent trip to Utah, sodas of unusual flavors, Watergate, apple-picking excursions, Andy's neck-watch, John Bowman's catchphrase on Hollywood Squares, Matter-Eater Lad, how to use time travel to steal DB Cooper's suitcase full of cash, Strange New Worlds vs Discovery, Duolingo, The Godfather, history-based movies, and many other things.

Defensive Line Coach John Bowman joins the boys to talk about his position group, transition into coaching and memories of growing up in Brooklyn and some of the sports heroes he admired. Matt and Nik also recap training camp and look ahead to the regular season opener with Edmonton on Saturday.

In this episode Dianne and Jennie learn about one man's heartache and how it led him to build a magnificent mausoleum and gorgeous Victorian mansion. John Bowman built his wealth owning several tanneries and selling leather goods to the Union army during the civil war. However, his true happiness was the love he showered on his wife and daughters and when he lost them he he built the magnificent Laurel Glen Mausoleum and Laurel Hall right across the street in Cuttingsville, Vermont. The second story in this episode revolves around Rebecca Nurse and the Nurse family cemetery located in Danvers, Massachusetts. Rebecca Nurse was one of 19 victims hanged during the Salem witchcraft hysteria of 1692 and her home is the only one left where a victim of the witch trials actually lived. Included on that property is a family cemetery where it has been rumored for nearly 300 years that Rebecca may be buried. Come along as we explore these Ordinary Extraordinary stories in this episode of the Ordinary Extraordinary Cemetery podcast.Link to YouTube video SFC Ray Adam Archuletta: https://youtu.be/tSJc7T3OQ1oResources used to research this episode include: "Statement of Significance and History ." https://www.uvm.edu/. www.uvm.edu/histpres/HPJ/NR/laurel/stmtsig.html. Accessed 29 May 2022.Rutland Daily Herald, and Marjorie A Pierce. "JOHN P. BOWMAN - LAUREL HALL AND LAUREL GLEN CEMETERY ." http://shrewsburyhistoricalsociety.com/. shrewsburyhistoricalsociety.com/html/People/bowman.html. Accessed 29 May 2022.Lyons, Olivia. "Bowman mansion and mausoleum to be honored with historical marker ." https://www.wcax.com/. 5 Nov. 2021. www.wcax.com/2021/11/05/bowman-mansion-mausoleum-be-honored-with-historical-marker/. Accessed 29 May 2022.Gilkenson, Dennis. "John Porter Bowman and Laurel Hall / Laurel Glen Mausoleum ." https://www.hmdb.org/. 23 Apr. 2022. www.hmdb.org/m.asp?m=196205. Accessed 29 May 2022.Thibault, Amanda. "This Place in History: Laurel Hall and Laurel Glen Mausoleum ." https://www.google.com/amp/s/www.mychamplainvalley.com/. 1 June 2020. www.google.com/amp/s/www.mychamplainvalley.com/ask-the-expert/vermont-historical-society/this-place-in-history-laurel-hall-and-laurel-glen-mausoleum/amp/. Accessed 29 May 2022.John, Frederick. "Cashing In on an Old Haunt ." https://www.nytimes.com/. 27 Oct. 1974. www.nytimes.com/1974/10/27/archives/cashing-in-on-an-old-haunt-cashing-in-on-an-old-haunt.html. Accessed 29 May 2022.Bowman, Jeff. "Ella Bowman." https://www.findagrave.com/. www.findagrave.com/memorial/8544920/ella-h-bowman. Accessed 29 May 2022.Bowman, Jeff. "Addie Bowman." https://www.findagrave.com/. www.findagrave.com/memorial/8544924/addie-i-bowman. Accessed 29 May 2022.Bowman, Jeff. "Jennie E. Gates Bowman ." https://www.findagrave.com/. www.findagrave.com/memorial/8544917/jennie-e-bowman. Accessed 29 May 2022. "John Porter Bowman ." https://www.findagrave.com/. www.findagrave.com/memorial/3567/john-porter-bowman. Accessed 29 May 2022. "About Us." https://www.rebeccanurse.org/. www.rebeccanurse.org/about-us/. Accessed 29 May 2022. "Rebecca Nurse." https://en.m.wikipedia.org/. en.m.wikipedia.org/wiki/Rebecca_Nurse. Accessed 29 May 2022.Story, William. The Witchcraft Hysteria of Salem Town and Salem Village in 1692. Peabody, Willart Publishing, 2007.Brooks, Rebecca Beatrice. "The Witchcraft Trial of Rebecca Nurse ." https://historyofmassachusetts.org/. 5 Nov. 2012. historyofmassachusetts.org/the-trial-of-rebecca-nurse/. Accessed 29 May 2022. "Rebecca Nurse Homestead." https://salemwitchmuseum.com/. salemwitchmuseum.com/locations/rebecca-nurse-homestead/. Accessed 29 May 2022.

A few weeks ago, Alt Goes Mainstream went to the capitol of capital for alts, AltsLA by CAIA, the largest alternative investments conference on the West Coast, to speak with industry leaders about how they are allocating capital.Alt Goes Mainstream partnered with CAIA, the premier educational organization for the alts space, to have topical conversations on the world of alternative investments.With the backdrop of an uncertain macro environment and changing investor preferences that have resulted in a 60/40 portfolio no longer, top allocators in the industry discussed how alts are becoming an increasingly important part of investors' portfolios.Over the past few days, we have brought to you CAIA shorts: live interviews with the people who are making the decisions for many of the world's largest investment institutions. Apologies in advance if there is background noise on the podcasts, but it's because we recorded live and unfiltered from the AltsLA conference.There were 10 great podcasts with such rich conversations from some of the world's smartest investors, so we have released these episodes in 4 parts.Today's episode (10/10), the Finale, in this CAIA mini-series is with Bill Kelly (CEO) and John Bowman (EVP) at CAIA. Bill, John, and I discuss the portfolio of the future, why 60/40 is dead, and how institutional investors will adapt to the current market environment.

John Bowman, Managing Director and Co-Head of Crescent Direct Lending, discusses the why the direct lending market is becoming an increasingly popular asset class for institutional investors. The information in this podcast is not intended to provide specific financial, tax, investment, insurance, legal or accounting advice and should not be relied upon and does not constitute a specific offer to buy and/or sell securities, insurance or investment services. Investors should consult with their professional advisors before acting upon any information contained in this podcast. To review the transcript and disclosure for this podcast, please visit: https://www.slcmanagement.com/en/insights/podcasts/three-in-five-episode-38-john-bowman  

ETF Trends' Dave Nadig dives into several topics including ARK Invest filing for an interval fund, passive ETF rebalancing costs, and violent price swings in stocks such as Facebook and Amazon.  CAIA Association's John Bowman discusses alternative investments, crypto, tokenization, and democratizing investing.  Upholdings' Robert Cantwell spotlights the Compound Kings ETF (KNGS), the first-ever hedge […]

It's technically a new year even though 2020 feels like it's still happening. So much live comedy has already gone dark at the top of the year making the rest of 2022 feel uncertain to say the least. That said, there was a bunch of great comedy things in happened in 2021 as captured in our actual-end-of-year list. We have Joel Mandelkorn, indie comedy producer extraordinaire, as one of the best authorities on the happenings in comedy, in for this week's TCB Field Report to scratch the surface of what was great in comedy last year and break down what's there to look forward to, if anything, in 2022 comedy. Also, RIP Betty White and John Bowman. The 100 Best Things in Comedy We Were Witness To in No Particular Order Follow Joel @cleftclips on Twitter and IG and listen to Haunt the Johnsons on Audible. The Comedy Bureau @thecomedybureau across platforms and please, please support TCB via GoFundMe, Patreon, or on Venmo (@jakekroeger). Produced by Jake Kroeger Music by Brian Granillo Artwork by Andrew Delman and KT

NBA News, NFL News, MLB News, NHL News, WNBA News, Pro Football Hall of Fame, Coronavirus impact on the sports & entertainment, NBC sitcoms, CBS's Equalizer, A farewell to Sam Jones, Harry Reid, Harry Colomby, Angela Kukawski, Tiffini Hale, Betty White, Alan Larson, Jeanine Ann Roose, Max Julien, Robert Bruce, Richard Leakey, John Bowman, Igor/Grichka Bogdanoff, Jay Wolpert, Rusty Citron, Dennis O'Dell, Joan Copeland, Larry Biittner & Dan Reeves. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/on-the-radar/support

We hear from John Bowman about why it's time to move past the ESG label, what the investment portfolio of the future looks like, and how allocators are looking past traditional asset class delineations and embracing more functional approaches to asset allocation.

John nous raconte les meilleurs moments qu'il a vécus dans sa carrière et avait un petit quelque chose à dire aux partisans des Alouettes.

The end is inevitble. In part two of our series on adjusting to post-football life RP, Kevin Glenn and John Bowman share more insight on what young players can do to make sure they're set up for their second career.

Ryan Phillips speaks with former teammates Kevin Glenn and John Bowman. In the first of a two-part series. What would they have done differently in their playing days? What’s the best advice they’d give players now? They also discuss the biggest mistakes, best lessons & Dos & Don’ts for current players.

John Bowman is an executive and personal development coach specializing in career change and acceleration. He has worked in the public and private sectors, in industries ranging from biotechnology to hospitality, and for companies he built himself from the ground up. Through his coaching practice, John helps people identify priorities, goals, and concrete action plans to move them forward. Learn more about ICF certified coach John Bowman at BHG-Coaching.com or connect with him on LinkedIn. Resources mentioned: - DISC assessment - Julie Johnson If you have a career planning question you'd like us to answer on The Career Planning Show, let us know via Rascanu.com/TheCareerPlanningShow or at @AlexRascanu. Access additional free career planning resources at Rascanu.com/Career.

0:00 Introductions13:30 NFL: Superbowl LV22:00 NFL: Martellus Bennett V Chad Wheeler29:30 NFL: Blockbuster QB Swap: Matt Stafford & Jared Goff 33:30 Spicy Interviews: John Bowman48:15 Spicy Interviews: Johnny Laurelli1:01:45 Spicy Interviews: Tommy Roadley Trohatos1:11:15 Rapid Fire Topics

Assisted by regular co-host Hannah, featured youth hosts Isabella, Ruby and Allegra from St. Michael’s Collegiate Middle School interview Dr John Bowman. The girls explore how microbes differ from other organisms, characteristics of microbes, and where they can be found as well as food safety and its importance in a changing climate. Host Niamh also talked to leader of digital content at St. Michael’s Collegiate, Anna Abela, about the school’s perspective on youth workshops.Show theme music: Kevin MacLeodHosts: Niamh Chapman (@nchapmanTAS), and Isabella, Ruby and Allegra from St. Michael’s Collegiate Middle SchoolProduction: Meredith Castles (@meredithcastles) & Olly Dove (@littledove440)Media & Promotion: Olivia Holloway (@LivHolloway_) & Kate Johnson (@KatePlantPhys)

Peter welcomes longtime Colorado newsman, and Ref #1 in the movie Ladybugs, John Bowman to the show.  He and Peter discuss what led up to, and the impact of last week's Capitol riots.  They also compare/contrast the summer BLM riots and the Capitol riots.   See omnystudio.com/listener for privacy information.

Mr John Bowman dishes the dirt on todays show about how the CFL handled the COVID cancelled season, what he thinks of Rider fans and a few ex players, what is next for him and much more! ENJOY!

In this episode, we speak to John Bowman, Marketing Director at Anglia Components, and David Pearson, Technical Director at Anglia Components about how COVID-19 is having the effect of accelerating designs especially in medical applications

This week, we examine the evolution of the European Union’s General Data Protection Regulation (GDPR). As we consider the issues surrounding potential adoption of national privacy legislation in the U.S., we will explore what knowledge might be derived from the evolution of data protection legislation in the EU – why it happened and how. Starting with the 1980 with Guidelines Governing the Protection of Privacy and Trans-Border Data Flows, the EU gradually moved to a Union-wide law, which proved necessary to avoid the confusion created by varying member nation privacy policies. Our guest, John Bowman, now a Senior Principal at Promontory, served as the U.K. government’s lead negotiator as GDPR was being drafted. In this episode, we explore with John the rationale that led to adoption of the GDPR as well as what has worked and what hasn't. Of particular relevance to the American experience is how the nation states that make up the EU arrived at a common framework, but also the role each member country plays when it comes to interpretation and enforcement of the GDPR.

Comedy and Everything Else, faulty memory, Cheers, Brodie Stevens, comedian documentaries, Apatow impact, Pete Holmes, You Made It Weird: Jesse David Fox, Judd Apatow, “Qweeting,” Jerrod Carmichael, Bridesmaids, Popstar, Game Night, lazy writing (storytelling vs. joke writing), John Bowman, Half Hour Comedy Hour, Seinfeld references, “It's just comedy!,” comedy as art, “no hugs,” Maria Bamford, irony, understanding the creative process, liking things, knowing your shit stinks (humility), “more credentials than some, less credentials than most,”  Adam Sandler, The Week Of, Christopher Walken on SNL, who makes you laugh, Pam Murphy, our dads, the privilege of academic reflection, teaching comedy, Trial and Error, Screwed, Dirty Work, Norm MacDonald Based on a True Story, Herzog. See acast.com/privacy for privacy and opt-out information.Support the show (https://www.patreon.com/whatsthatfrom)

You might think the American Southwest is always a warm place to be, but you’d be wrong! Go there in February and you’ll be in for a surprise. It might also surprise you to learn Tucson is one of the only cities in the Southwest that rank among the worst places to live. But we go there anyway. While there, we dive into rants about my mother questioning retirement, Republican almost dying at my show, and we’re asked the age-old question, “Do we need to curse in all of our rants?” Special thanks to John Bowman for appearing on this episode. New episodes arrive every Wednesday For advertising opportunities email advertise@thelaughbutton.com Learn more about your ad choices. Visit megaphone.fm/adchoices

This week on Playback. Questions, clip boards, and airports – we unpack the pandemic unemployment payment travel saga. Might bats provide us with the key to fighting Covid 19? We join the vaccine hunters. And it’s ladies choice on the dance floor for John Bowman. All on Playback presented by Sinéad Mooney.

California calling! As we wind our way through the state we learn sometimes things are as literal as they seem. A suggestion for those in charge, if you are going to name your city after a river it might be wise to make sure people can find the actual river! I’ve also always had a love/hate relationship with Los Angeles. Driving there makes me realize I have serious anger issues. And holy shit! does that place make you feel like you have no grasp on this thing called show business. Special thanks to John Bowman for appearing on this episode. New episodes arrive every Wednesday For advertising opportunities email advertise@thelaughbutton.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Reno, Nevada has rowdy crowds, but it’s a calmer version of Las Vegas. You should go visit, it’s a comfortable place to lose your money! During this run I’m asked why I haven’t moved to Canada yet and you know what? I don’t know. Perhaps because this run of shows has some really nice theaters to perform in.   Special thanks to John Bowman for appearing on this episode. New episodes arrive every Wednesday For advertising opportunities email advertise@thelaughbutton.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Well, we’re here with the first-ever episode of my Rantcast, even though I hate podcasts I’m doing this shit. On this episode, we roll through the Pacific Northwest to find out what really pisses people off. Turns out it’s everything from the complex, like government shutdowns, to the small, like local newspapers, and the weird, like selling out to Al Roker. Enjoy!  Oh, and I’ve been recording these rants for a long, long time. So there are plenty. Prepare to sit back and relax, we've got nothing but time! Special thanks to John Bowman for appearing on this episode. New episodes every Wednesday via The Laugh Button podcasts For advertising opportunities email advertise@thelaughbutton.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode 30's special guest is Wingate alumnus and Montreal Alouettes all-time sack leader John Bowman! He talks about his pro football career, his off the field involvement, pregame outfit selections, shoes and more! Thanks for Kickin' It with Breezy & Don C. ! --- Send in a voice message: https://anchor.fm/kickinitdbdc/message Support this podcast: https://anchor.fm/kickinitdbdc/support

In a long and distinguished career, Chris Patten has been a Westminster MP, a UK Cabinet minister, the last Governor of Hong Kong, Chairman of the BBC and Chancellor of Oxford University. In this frank memoir he uses each phase of his life as a spur to reflect upon education, America, conservatism, Ireland, China, Europe and finally the question of links between violence and religion. Of particular interest to an Irish audience will be his stewardship of the Independent Commission on Policing for Northern Ireland.Chris Patten is currently Chancellor of Oxford University. Holding several high-ranking posts throughout his career, he has been at the centre of political life and world affairs for most of his life.John Bowman is a historian and broadcaster.The episode was recorded at Printworks, Dublin Castle, on 30th September 2017. Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

In a long and distinguished career, Chris Patten has been a Westminster MP, a UK Cabinet minister, the last Governor of Hong Kong, Chairman of the BBC and Chancellor of Oxford University. In this frank memoir he uses each phase of his life as a spur to reflect upon education, America, conservatism, Ireland, China, Europe and finally the question of links between violence and religion. Of particular interest to an Irish audience will be his stewardship of the Independent Commission on Policing for Northern Ireland.Chris Patten is currently Chancellor of Oxford University. Holding several high-ranking posts throughout his career, he has been at the centre of political life and world affairs for most of his life.John Bowman is a historian and broadcaster.The episode was recorded at Printworks, Dublin Castle, on 30th September 2017. See acast.com/privacy for privacy and opt-out information.

Longtime Denver media personality John Bowman joins Peter to discuss local media, local politics, and moreSee omnystudio.com/listener for privacy information.

John Bowman is a 2017 graduate from Washington and Lee University with a BS in Biology currently working in Charleston, SC as a clinical research coordinator . His goal is to become an MD with an emphasis on clinical trials as well as conventional medicine. In this episode, we discuss clinical research as a path to becoming a surgeon, pediatric trials vs older populations, the importance of preparation, building trust with your patients, and building a routine.

Denver media personality John Bowman joins the show to talk about race in media and how it has evolved over time and where it still is lacking.  See omnystudio.com/listener for privacy information.

Ed Lopez, host of Trends with Benefits, discusses the future of alternative investing with John Bowman, Senior Managing Director for the CAIA Association.

Why are some of the world's biggest investment allocators moving assets away from bonds and equities? Should you be doing the same? Money Sense welcomes John Bowman, Senior Managing Director of CAIA; Natalie Sorrell, Deputy CIO of the Dallas Employees' Retirement Fund; and Clark Cheng, CIO of Merrimac, to find out why. Hosted by Simon Cawdery. Original air date 6 February, 2020.

Nik Launches the Lewnatic Hour, which is the Bonus Episodes of the LewLewLogic Podcast. This is a great conversation with 4 of the Best Pass Rushers to ever play football. John and Charleston are within 20 sacks of the All Time Lead in sacks in a career. Willie Jefferson is coming off of a Defensive Player of the Year winner in 2019, and Shawn Lemon has 70 Sacks in his career. Great topics on best pass rusher ever, Which Offensive Linemen they consider Bar B Que Chicken, and who they would love to have as their teammate. So many laughs and good times listening to their interaction with each other. Heads up Willie was in a Mexican Restaurant during the Interview and thats why this is the Lewnatic Hour. Enjoy --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/nikel18 /support

This week State Papers from 1989 were released. John Bowman broadcaster and historian joins Brendan to go through them.

Hear from John Bowman, Defensive End, Montreal Alouettes. Corey Masisak, Beat Writer, New Jersey Devils, The Athletic. 

Today we are talking with Johnny Bowman from Beast Fight Club, we speak about his fighters his history and what he has coming up. On November 30th we have Rebellion Muaythai 23 and Roots Muaythai 13: Could You Be Loved Tickets are on sale now at www.rebellionmuaythai.com.au This episode brought to you by Qest Environments coming to you from Ziggys Eatery in Balaclava.

Episode 99. Jet lagged Cliff joins Tim to recap the heart breaking and for some frustrating loss to the Lions in BC. Game grades, the new John Bowman line of merchandise and a Calgary preview.

* Thanks to Stericycle for sponsoring this episode of MGMA Insights. * In this episode, we’re joined by John Bowman, CEO of Sure Med Compliance. He founded the company after spending more than a decade in the pharmaceutical industry and seeing the overwhelming effects of the opioid epidemic play out while living in Manatee County, Florida. A portion of this interview first appeared on our Aug. 7 episode (https://bit.ly/2jYaZOu). John shares his unique insights on: * The impact of patient workflow on responsible opioid therapy * The potential legal ramifications facing today’s prescribing physicians * Law enforcement’s oft-used phrases “in the usual course of business” and “legitimate medical purpose” * Documentation’s important role in keeping compliant Here are some links and references related to this week’s show: • Doctors are more likely to prescribe opioids later in the day – or if appointments run late (http://bit.ly/2lRFdmN) • Physicians writing fewer initial opioid prescriptions, but some high-risk prescribing persists (http://bit.ly/2lwlQQ6) • Mobile tech helps surgery practice write fewer opioid prescriptions (http://bit.ly/2kgcFmQ) • Health Insurance Plans May Be Fueling Opioid Epidemic (http://bit.ly/2kpDVz9) • Surgeons’ Opioid-Prescribing Habits Are Hard To Kick (http://bit.ly/2k2nXeg) • Opioid Overdose Crisis – National Institute on Drug Abuse (http://bit.ly/2k2nZCU) John can be heard speaking at MGMA19 | The Annual Conference, Oct. 13-16 in New Orleans. Did you miss early bird registration? Don’t worry, we have you covered! Use the code POD200 while registering and save $200. Visit mgma.com/bigeasy19 for more info and to register. If you like the show, please rate and review it wherever you get your podcasts. We love hearing from listeners about the show. If you have topics you’d like us to cover or experts you’d like us to interview, email us at podcasts@mgma.com. MGMA Insights is presented by Craig Wiberg, Rob Ketcham, Decklan McGee and Daniel Williams. * Again, thanks to Stericycle for sponsoring this episode of MGMA Insights. To learn more about how Stericycle can ensure your practice remains safe, secure and compliant, visit stericycle.com/reliability.

In this episode of the MGMA Insights podcast, we talk to featured speakers at MGMA19 | The Annual Conference. Experts interviewed include: * John Bowman, CEO, Sure Med Compliance * Craig Wiberg, Senior Editor, MGMA * Ron Menaker, Administrator, Mayo Clinic * Frank Cohen, Director of Analytics, Doctors Management LLC To learn more about our educational sessions, join us at MGMA19 | The Annual Conference, Oct. 13-16 in New Orleans, where all of today's guests can be heard giving their full presentations. For more information about MGMA19, check out our Annual Conference blog at mgma.com/fuse. To register, visit MGMA.com/bigeasy19.

I head up all of our customer facing efforts here at Jetpack Workflow and oversee our Success and Support Teams. We work with thousands of customers in 18+ countries and I love every one of them. I'm passionate about building long term relationships, solving problems, and bringing value to the world.

John Bowman and Steffan Tubbs on the Denver Mayor runoff and the issues coming up with Initiative 300 and Leslie Branch-WiseSee omnystudio.com/listener for privacy information.

John Bowman sat inside his mansion as evening fell and the light between the Vermont hills faded into dusk as he had done hundreds of times before. He had finished his dinner early and the servants had all gone their respective ways, back to their own homes in the village. He was alone in the house. As the light dimmed and the colors began to disappear, he couldn't help but look out his parlor window toward the cemetery across the road. He lingered there for a long while, wondering, thinking...feeling. Would it happen tonight? Please, God, he thought, let it be tonight.As he wondered, the light of day finally shed its last rays and vanished. He was in the night country now. The moon was playing hide and go seek with the clouds, dark as pitch one moment and in the next, the entire countryside was awash with lunar light. How many times had he sat here, looking out where they lay? Had it really been years? So long to wait for a single, simple thing. The pain in his heart was as fresh as the day it happened for each of them, first his little baby daughter, then his 22 year old daughter Ella, cut down by sickness in the prime of life, followed only a year later by his beloved wife, Jennie. With her passing, a large part of him died, too. They had meant everything to him: they had been his world. Now, all he had were his memories and a belief in something extraordinary, something he held close to his heart like a treasure, telling no one. There, the moon had cast its light upon world again. He squinted his eyes to get a better view of the mausoleum steps atop the little rise next to the road. What was that? Was that...could it be...a man kneeling in front of the mausoleum that held the remains of this wife and children? Yes, it was the form of a man, stone still and kneeling, looking longingly into the locked space within holding a key in his hand. Of course it was a man. John Bowman knew him well. In fact, he had seen that same man kneeling there, seeking entrance into the house of the dead, every night for years, summer, winter, rain or snow. He looked one more time out of the window and then turned back into his parlor and with a wave of fatigue,blew out the lamp. Of course there was the form of a man kneeling out there in the pale moonlight, he thought as he made his way up the stairs to his bedroom. He thought to himself, ‘That solitary mourner, ghostly white and completely motionless, who never seems to leave the family alone in the cold fastness of stone is...after all, me.' Cuttingsville, Vermont is part of the slightly larger town of Shrewsbury,on Route 103. Like many New England towns, there isn't much of note, nothing out of the ordinary that would catch your eye except for the Laurel Glen Cemetery and the stately Victorian mansion known as Laurel Hall directly across the road. You might drive by and give it a double-take: have you just seen a ghost in mid-daylight, lingering in front of the Bowman Mausoleum? No, you haven't. What you have seen is a fine marble sculpture of John Bowman himself kneeling in front of the doorway to the family tomb. He is clutching a key in one hand and a flowered wreath in the other. The little stone structure seems quite out of place amid the other simpler stones erected in the modest cemetery. Designed and completed in 1880 by noted New York architect G.B. Croff, the Bowman Mausoleum may be the most heart-rending and expensive example of a belief in life beyond death ever constructed in New England. The story begins when fifteen year old John Bowman learns a trade. He apprentices out as a worker in a tannery in Rutland and then moves to New York state to learn the business. In the middle of the 19th century, leather goods helped hold the country together, used in almost every industry imaginable, from leather belts that drove the machinery of the New England mills to the rigging for ships and for all manner of horse-driven contrivances. In the next few years, the American Civil War would increase the demand for leather goods so such a degree that it could make a modest man rich, if he had the inclination to invest in his business. Bowman does so well that be moves back to Shrewsbury. He prospers and participates in local politics. With proserity comes a wife and family and all the happiness that a man might hold dear in his heart and be thankful for. So many Americans would lose loved ones during the war that it seems almost no one in the country was untouched by the conflict in some way. Everyone knew someone who died in that war. John Bowman may have wondered in those early days how he had been so fortunate. He had it all, it seemed. But no one escapes the trials of this world unscathed and for John Bowman, his dark night of the soul would arrive again and again over the coming years. Five years after marrying Jennie Gates from Warren, New York, the couple was blessed with their first child, a girl named Addie. Although we do not know the exact circumstances of her life, we know that young Addie only lived for four months. The couple was obviously distraught but the death of children was a more common event in the 1850s than it is today, as evidenced by the sheer number of childrens' headstones found in any cemetery of the time. Large families were the rule rather than the exception and the multitude of childhood diseases meant that it was common for families to lose a child to one of them. But that didn't make their loss any less poignant. The couple had another daughter, Ella, born in 1860. They lived in relative comfort and happiness, one must assume, for he was the most prosperous man in town and they must have wanted for nothing. It was during this time that Bowman was elected to the Vermont state legislature. The war ensured Bowman's fortune. For many years, the family prospered. But tragedy loomed ever on the horizon and when 23 year old Ella fell ill and then died in 1879, Mr. and Mrs. John Bowman's world fell apart. None of the money mattered. Their two children, the light of their lives, were gone. Then, when it may have seemed like nothing could make anything worse, Mrs. Bowman fell ill and died a year later in 1880. John Bowman was alone, utterly and completely alone. John Bowman needed a purpose, something into which he could pour his anguish and his considerable fortune to help him find a reason to go on. This was a time in America when the business of memorials was in full swing. People tended toward the sentimental and spent long hours contemplating death, erecting memorials, and for some, attempting to speak to the dearly departed. The Spiritualist movement had started not far from Cuttingsville in upstate New York where Bowman had apprenticed as a young man. Perhaps in his formative years he had met someone involved in the movement, had heard of those people conversing with the dead. There is no proof of this connection but talk of the new movement was everywhere.It gave hope to so many who had lost so much. In the 1880s, funerals were productions and even the afterlife, it seemed, was affected by the wishes and longings of those who survived. People were seeking a closeness in death like the one they had in life. Bowman determined to build a mausoleum unlike any other. Many of the larger cemeteries of this time saw a number of extravagant tombs built from imported Italian marble. Also in place were any number exquistely carved angels, shrouded figures in mourning, and other human forms set in stone to last the centuries. Bowman wanted both.The Laurel Glen Cemetery at Cuttingsville was a simpler place, with rows of white marble slabs hewn from the nearby hills as the only makers of the good people who rested below. Bowman would change all of that. He would build a structure to last the ages. Money was no object. Tons of marble were imported from Italy and cut to fit the designs of architect G.B. Croff from New York. When it was completed, people began to visit and wonder at the structure, a tiny Grecian Temple nestled between who Vermont hills. The doors were opened and Bowman, pleased that so many were taking an interest in his project, hired a keeper and set up a guestbook inside. For awhile, the Bowman Mausoleum was a tourist attraction. Perhaps people even brought the kids. As the people came to visit and as time continued to pass, Bowman had another idea. He decided to build a large Victorian house almost directly across the road from the mausoleum. When completed, he moved into it, so close to the mortal remains of his beloved family.He named it ‘Laurel Hall'. It must have been a comfort. But it wasn't enough. We don't know exactly how the idea came into his mind, but once conceived, there was no stopping its realization. Bowman must have looked out that window a thousand and one times and seen something that no one else could see, a figure of a man begging to be let into the sanctum and be reunited with the only people who brought him comfort and solace.There he was, kneeling, holding a key to the door or was it to the life beyond? He could see it was, of course, his own figure kneeling there in the moonlight, looking longingly into the crypt. Other people needed to see this solitary, eternal mourner, too. So he hired an Italian sculptor named Giovanni Turini to carve his image into stone and place it on the steps, kneeling, entreating entrance into that glorious afterlife where he could be with his beloved family again. If that was the end of the story, it would be enough to make us wonder at the man's pertinacity and devotion. But there's more. There's always more. As he settled into his life in the mansion, he spent less and less time outside of its walls and it become more and more of a tomb for him. He had servants, of course, but their nature was as taciturn as any Yankee. No one knew for sure what was taking place inside the walls of Laurel Hall. Rumors began to spread about the peculiar doings inside. He had the table set for his whole family. Beds were turned down for them. Though he ate alone, he lived as though he was whole again and the family was still with him. Rumors persisted that Bowman was studying the occult sciences, that he was seeking a way to come back from the dead and, one might assume, bring his family back with him. He grow older and more and more isolated. We can imagine him making the occasional journey across the street, opening the door with the real key and sitting amid his departed family, the carefully arranged mirrors reflecting his image over and over in the small space, making it seem enormous and empty, showing rooms beyond that simply could not exist in this world. The mirrors are situated to make the little room seem enormous, showing entrance ways to other rooms, branching off in a hundred different ways. Did he sit there quietly and seek to wander those rooms in his mind? When he looked at the little marble statue of his infant daughter reaching her arms out to him, did he reach down to gather her into his arms? His wife's elegantly sculpted face gazed at him with empty eyes - or were they full of love for him? In the light of modern science, we can point to his depression and realize that, because it went untreated, it turned into a kind of manic obsession with death and the afterlife. When he died in 1891, according to local lore, his will stipulated that each night, the hearth fires would be lit. Funds were left to pay for the servants to continue their work of maintenance and cleaning of the house and the mausoleum. The bed linens would also be changed weekly and every evening, the table would be set for everyone in the family. Did Bowman know something the rest of us don't? Why did Bowman ask for these strange requests? Why set the table and change the beds for people who obviously weren't there? Was he getting things ready, just in case, somehow, he found a way back from beyond the veil? Would the family somehow appear or did he believe that, in fact, they had been there with him all along, at least in his mind: a baby girl who never grew up, a 22 year old daughter forever in the prime of her life, and a wife of many years whose love and support carried him through the hardest of times? Is it possible that he was never, truly alone, after all? Was it a kind of insanity for him to long for comfort and to imagine that those who had passed might actually be as close as his next breath? Who can say? He's still there. You can see him for yourself any hour of the day and night along Route 103 in Cuttingsville - the white and ghostly marble form of John Bowman, slightly larger than life, gazing into the sanctum where his two daughters, his wife and he are all resting the slumber of the ages. It's an old adage that you don't know what you've got ‘till it's gone. One man's monument to his family might make you realize how important family is in your life, after all. PHOTO CREDITS: Don Shall Photos : http://www.flickr.com/photos/donshall/

John Bowman works in a variety of mediums including painting, drawing, and sculpture. He is now a Professor of Art at the Pennsylvania State University. In addition to his love of teaching art, he is a founder of “First Street Green,” a collaborative community group in the East Village of New York City. Bowman recently participated in “Service to Public Areas,” a collaborative public art project in Shkodra, Albania. Beginning in the 1980s, he exhibited at various venues in New York City including the Holly Solomon Gallery, the Lang O’Hara Gallery, and the Tibor de Nagy Gallery. He has shown internationally and is represented in many private and museum collections. He previously taught at the New York Academy of Art and has lectured widely. Brian spoke to John at his current solo show at Winston Wachter Gallery in Chelsea.

Isaiah 55:8Support the show (https://growingatgrace.churchcenter.com/giving?open-in-church-center-modal=trueGive%20online)

Tony Kovaleski and John Bowman - both veteran Denver journalists continue to dig deep - asking the question - "Will Hancock survive this?"See omnystudio.com/listener for privacy information.

James & Davis are joined by CFL.ca's Jeff Krever to grade out team's free agency moves, plus debate who might be the best GM in the CFL. Later, Alouette ironman and veteran DL John Bowman talks about his impressive longevity in the league and with Montreal.

The NFL season is days from kickoff and Colin Kaepernick is still out of a job. We talk about athletes who take a stand with former NBA player/activist Etan Thomas and John Bowman of the Montreal Alouettes; Chuck Hughes takes us on a culinary world tour.

John Bowman in conversation with Patrick Geoghegan Ireland: The Autobiography offers a fresh, vivid take on the last century of Irish life through a brilliant collection of eyewitness accounts and recollections. Broadcaster and historian John Bowman has spent years mining archives, diaries and memoirs to create a remarkably varied and intense mosaic of voices and perspectives. Collectively, they give us an image of Ireland unlike anything we’ve read before. Dr John Bowman is a historian and broadcaster. Ireland: The Autobiography: Eyewitness accounts of Irish Life since 1916 is his third book. Patrick Geoghegan is Professor of Modern History at Trinity College Dublin.

Love Triangles Galore!

Colin Miller, Head Coach, FC Edmonton John Bowman, Defensive End, Montreal Alouettes

As the once front page story of the San Francisco 8 case winds down, bills are becoming due. The San Francisco 8 refers to 8 former members of the Black Panther Party, charged with involvement in a 1971 homicide. There is little doubt now that the case was initiated more for political reasons than legal ones. The San Francisco District Attorney's office thought so little of the case that it declined to prosecute. California's attorney general opted to try it instead. Almost from day one, the case began unraveling. A few guys took plea bargains to relatively minor charges, resulting in probation. Within months, charges against 5 of the men were dismissed. Only one still has charges pending. The men - Herman Bell, Ray Boudreaux, Henry Jones, Jalil Muntaqim, Richard O' Neal, Harold Taylor, and Francisco Torres - now middle aged and older, stood firm with each other, and refused to flip on each other. Some of them were tortured back in 1973, when charges were originally dismissed. (One man, John Bowman, died before trial) Why this case? Initially, it is the extraordinary resources and papers made available to local jurisdictions by the federal government in the aftermath of 9/11; secondly, California's Attorney General (Edmund 'Jerry" Brown) was anxious to run for governor, and thought this case would prove the right vehicle. But what was sensational in 1971 loses some of it's punch in 2007. The newest headlines from the case isn't what the cash strapped stated wants to hear. San Francisco's Public Defenders office has filed for $2 million in reimbursements owed by the City for its defenses of the men. They are seeking that sum because the State, not San Francisco County, took up the prosecution of the 36 year old case. (c) 2010 Mumia Abu-Jamal

John Bowman & Peter Hubbell, Saatchi and Saatchi Lovemarks - The Future Beyond Brands Has marketing reached a dead-end in this recession? Is there nothing beyond branding-as-usual? Saatchi & Saatchi answers an emphatic "No!" In "Lovemarks - The Future Beyond Brands," we will demonstrate our conviction with over 25 cutting-edge examples from around the world. We will reveal vital dimensions of mystery, sensuality and intimacy that empower achievement of loyalty beyond reason.

John Bowman & Peter Hubbell, Saatchi and Saatchi Lovemarks - The Future Beyond Brands Has marketing reached a dead-end in this recession? Is there nothing beyond branding-as-usual? Saatchi & Saatchi answers an emphatic "No!" In "Lovemarks - The Future Beyond Brands," we will demonstrate our conviction with over 25 cutting-edge examples from around the world. We will reveal vital dimensions of mystery, sensuality and intimacy that empower achievement of loyalty beyond reason.

In 1973 after a break of sixteen years, Fine Gael returned to power in a National Coalition government with Labour, under the leadership of Liam Cosgrave. John Bowman presents a special programme on the day of the election of the new Taoiseach & 20th Dáil.

Sean Macentee and De Valera first met in Dartmoor Prison in July 1917. It was the beginning of a long friendship and time spent together in politics. John Bowman presents a documentary remembering De Valera and the birth of Fianna Fail. (Broadcast 1982)

Dr. Jack Bowman is the Director of the Mind Plus Muscle Institute for Applied Sport Psychology in Port Jefferson Station, New York. He is a licensed Clinical Psychologist and a Certified Consultant in Sport Psychology. Since 1980 Dr. Bowman has served on the graduate faculty at the State University of New York at Stony Brook where he teaches the Psychology of Sport. In 1981 he founded the Mind Plus Muscle Institute where he has developed numerous performance enhancement programs, including the Mental Training Room that is currently being utilized by athletes at major universities and Olympic training centers world wide. In 1996 he established the Long Island Marathon Psych Training Team and served as its Director for 12 years. An advocate of Sport Psychology Training at all levels of sport, Dr. Bowman has been a pioneer in the application of Telecommunications and Information Technology to make Mental Training and Sport Hypnosis accessible to all athletes. Dr. Bowman is a member of the American Psychological Association’s Division for Exercise and Sport Science. He is a Certified Consultant in the Association of Applied Sport Psychology, and a member of the United States Olympic Sport Psychology Registry.

More info at http://StrikeChronicles.com • Contact: wgastrike2007@gmail.com

More info at http://StrikeChronicles.com • Contact: wgastrike2007@gmail.com

More info at http://StrikeChronicles.com • Contact: wgastrike2007@gmail.com

More info at http://StrikeChronicles.com • Contact: wgastrike2007@gmail.com

On Wednesday, July 12, more than 130 WGAw showrunners took over the Wilshire Ballroom at the Beverly Hilton Hotel for the inaugural Showrunners’ Dinner. Click To PlayWGAW Showrunners' Dinner 2007On Wednesday, July 12, more than 130 WGAw showrunners took over the Wilshire Ballroom at the Beverly Hilton Hotel for the inaugural Showrunners’ Dinner. The dinner, hosted by the WGAw and pre-eminent showrunners Neal Baer, John Bowman, Steven Bochco, Carlton Cuse, Greg Daniels, Jeff Melvoin, Carol Mendelsohn, Shonda Rhimes, Shawn Ryan and John Wells, was part of the Guild’s new approach to its membership. The event, planned and supported by the WGAw Board of Directors, WGAw President Patric M. Verrone and the Member Services Department, was conceived to acknowledge and celebrate the achievements of members who have attained the position of showrunner Arguably the busiest people in Hollywood (or New York, or Chicago... or anywhere else television is written and produced), the showrunners had an opportunity to see old friends, colleagues, former co-workers and people known only by reputation. While they took every opportunity to meet and greet each other, they also listened as Patric Verrone began the evening with his humorous—and inspirational—opening remarks.After the dinner, Carlton Cuse, Lost showrunner, shared his experiences and success in getting the network to accept that the writing of Lost mobisodes be covered by the WGAw. Recognizing that many showrunners will be, or are already, facing similar issues with the networks, Cuse offered to assist them in negotiating this issue; his proposal was met with applause. Carol Mendelsohn then took the podium to speak about product integration, which is a far cry from the product placement everyone is used to, and something that can sneak up on the busy showrunner focused on getting the shows written and shot. Interim Executive Director David Young talked about the issues currently facing the Guild and how important it is that every member be involved with Guild actions. Many in the audience later remarked that they felt both informedand motivated after hearing Young’s remarks.