Podcast appearances and mentions of John Maher

Who would have guessed Cllr John Maher was a Saw Doctors fan, is that a guilty pleasure? He gives a great review of the night to PJ Coogan. Hosted on Acast. See acast.com/privacy for more information.

For this week's Grass10 grazing management update, John Maher discusses current grazing advice as some farms are coming into surplus grass and he has a grazing update from John Phelan, Co. Waterford. Link to this week's Grass10 newsletter: https://bit.ly/Grass10-10thJune2025 For more episodes from the Dairy Edge podcast go to the show page at:https://www.teagasc.ie/animals/dairy/the-dairy-edge-podcast/ The Dairy Edge is a co-production with LastCastMedia.com

Teagasc Grass10 Programme Manager, John Maher, joins Stuart Childs on this week's Dairy Edge to discuss managing mid-season grass quality.  John outlines the significance of getting grass quality right with 40% of the milk being produced in May, June and July. He talks about why grass management is difficult, because it doesn't grow consistently with as much grass growing in the last 7 days of the rotation, as it does in the first 14 days. The main aim is to graze 1400 Kg DM/ha as this is the cover that optimises grass performance and cow performance and means the paddock is grazed well to facilitate good quality in subsequent rotations. There are challenges in terms of management of grass quality currently with drier than normal conditions. However, people need to try to get back into the right cover as soon as they can if rain comes. Nutrient status of paddocks is important and K is critical in water management in the plant, so some K and indeed S are important to deal with stress periods.  Rainfall should bring a surge in growth and that will have to be managed but having nutrient status in control allows for a quicker return to normal as grass can deal with the stress better when nutrient status is adequate. John finishes up by saying that it is important to walk the farm before the rain comes to know where you are at and then walk it again once the rain comes to reassess, with the objective being to get to the right pre-grazing yield of 1400 or 10cms in height as soon as possible to underpin midsummer milk production and milk price. For more episodes from the Dairy Edge podcast go to the show page at:https://www.teagasc.ie/animals/dairy/the-dairy-edge-podcast/ The Dairy Edge is a co-production with LastCastMedia.com

Military lawyer and Army veteran John Maher joins Karen Conti to share some stories and insights on the Memorial Day holiday. John details the medals that veterans can be honored with and breaks down the basis of military law. John also explains what the law says for soldiers who are in combat.

Grass10 Manager, John Maher, is on this week's Beef Edge to discuss grass management on the farm at this critical stage of the year.  John gives an update on farms at the moment with some farms having had the best spring in years while other farms are looking for rain. Rain was very localised earlier this week and with not much rain forecast, it will be challenging on some farms. John says that balancing quality is key at the moment to ensure good animal performance and avoid stem in the sward building up for the season ahead. Removing surpluses will be important to ensure quality while making top quality silage for next winter. Some farmers depending on stocking rate and allowances may be tempted to stop applying N and John discusses various options with utilising slurry and including sulphur in fertiliser is essential. The length of time stock spend in a paddock this time of year can also have a big impact on grass growth and quality. The target to maintain is three days per paddock. First cut silage will be harvested on farms in the coming weeks and John outlines the nutrient requirements for second cut on farms where needed. For more episodes from the Beef Edge podcast, visit the show page at:https://www.teagasc.ie/thebeefedge Produced on behalf of Teagasc by LastCastMedia.com 

Thanks to John Maher for the answer! Like this podcast? Please help us by supporting the Naked Scientists

Ground zero. 9-11. World Trade Center. John Maher was the first cameraman to film inside, while they were still burning. He shares his surreal memories and experience.

John Maher, Manager of the Teagasc Grass10 Programme joins Stuart Childs to discuss the grass growing year of 2024 and what we can learn from it for 2025. John discusses several elements that people can control to help drive grass growth on their farms.  Getting the basics right is what makes the difference. Soil fertility has always been important but it is more important still where nitrogen is reduced as has been the case in the last number of years. Grazing infrastructure to get grass to cows but not damage ground, was a significant issue for farmers in 2024. This doesn't have to be elaborate, it may just be a few extra gaps into paddocks. John went on to say that a big challenge for farmers to address in 2025 is replenishing feed reserves. While the extended autumn in 2024 has helped, people need to plan to increase feed stocks in anticipation of the weather challenges that are becoming more frequent.  This means farmers need to do a root and branch review of their farming system and establish how they will deal with one of these weather challenges when it comes again. This means looking at how to increase grass growth on the farm, is the stocking rate appropriate, a plan for quality silage etc. Finally, John outlines the fertiliser plan for early 2025 and how it is important to get nitrogen out in the form of either slurry or chemical nitrogen early to get growth going. It's only a low rate application and it should only be spread in appropriate conditions but it needs to be spread if the weather is right to stimulate growth. For more episodes from the Dairy Edge podcast go to the show page at:https://www.teagasc.ie/animals/dairy/the-dairy-edge-podcast/ The Dairy Edge is a co-production with LastCastMedia.com

This episode of the DDW narrated podcast series is titled “New ways to treat cancer”, which covers three articles written for DDW Volume 24 – Issue 2, Spring 2023 of DDW. They are called: “3D Genomics and targeted cancer therapies”, “Democratising proteomics for cancer and beyond”, and Meet the Researcher: John Maher” In the first article, Anthony Schmitt, PhD, Senior Vice President, Science at Arima Genomics, discusses the applications of 3D genomics in cancer research. In the second article, DDW Editor Reece Armstrong speaks to Nautilus Co-Founder and Chief Scientist Parag Mallick, about the company's recent collaboration which aims to uncover the proteins that could be behind a rare and fatal childhood cancer. In the third article, John Maher, Leucid Bio, told me about his work and offers valuable advice to others in this field.

I sit down with John Maher, founder of The Victorian Group, a lead generation agency specializing in private wealth advisors and lenders. John's story is a rollercoaster - by 18, he was featured in Forbes, and by 21, he hit rock bottom. Now, in his mid-20s, he's rebuilt and is running a $600,000-a-year agency with 50-60% net margins.In this episode, John opens up about the tough lessons learned along the way, the challenges of marketing in highly regulated industries, and how he navigated both personal and professional setbacks. Questions this Episode Answers:How did John go from being featured in Forbes to rebuilding a $600K agency?What are the biggest challenges of marketing for private wealth advisors?How did John achieve 50-60% margins in a highly regulated industry?What are the key lessons in turning failure into opportunity?How can you build a resilient business despite major setbacks?___________________________

On this episode John O'Loughlin headed off down to Moorepark and had a sit down and cup of tea with John Maher who heads up the Grass 10 with Teagasc.  The covered every corner of the country discussing the different Grass 10 winners.The Sod Pod; https://ie.timacagro.com/podcast-the-sod-pod/

Cllr. John Maher tells PJ that parking in bus stops is the latest issue to affect MacCurtain Street Hosted on Acast. See acast.com/privacy for more information.

Cllr. John Maher gives PJ an update on the potential for Christmas lights switch on Hosted on Acast. See acast.com/privacy for more information.

This week we pay tribute to the camogie players from Boherlahan who won the Feile in Wexford at the weekend. We hear from John Maher and Seamus Hickey. The North Tipp senior championship is reviewed by Liam Hogan and we have ladies football reports from Tony Smith. Shauna O'Keeffe was on with news of her latest bout. We hope you like...

John Maher, funeral director and estate planning lawyer, joins Karen Conti to talk about a Nebraska woman who was found alive in the funeral home and the 80 families in Central Illinois who are suing a funeral home because the ashes they received were not those of their family members.  

Sustainable Grassland Farmer of the Year, Patrick O'Neill, and Teagasc Grass10 Manager, John Maher, join James Dunne on this week's Dairy edge podcast to discuss Patrick's award-winning farming system.   Patrick outlines the farm performance, how he deals with adversity that was the spring of 2024 and details the transition to grass clover swards.  John also outlines what it takes to win the competition and highlights the areas where Patrick impressed the judging panel the most. For more episodes from the Dairy Edge podcast go to the show page at:https://www.teagasc.ie/animals/dairy/the-dairy-edge-podcast/ The Dairy Edge is a co-production with LastCastMedia.com

On this episode, George and I discuss the upcoming show season Southern California which events we will be at. We discuss Zorba the Ghia  and Spike's Vintage Restoration process with  the restoration. Its moving fast for sure. Bill almost has the interior re-done due to camera Color That's taking place. We reach out to John Limnios, the winner of the real Street class for the Volks group race in Samoa. 900 hp drift widebody bus being built by Kenny Pfitzer. Lots of cars coming down for one crazy weekend this year. We also discuss a special trophy for cars that will be debuting at one crazy weekend. Is George going to trade his bus for a stock 58 single cab? We talk about Bill's trip in the next few weeks to the UK for the Cal-look Caravan 2024 that's gonna go from bad Camberg to Chimay Belgium. We also review a few of the podcast that just came out John Maher, Ron revere Russell with old speed and more. We read some listener emails and also of course give som shot outs. its a fun episode. www.letstalkdubs.com www.vwtrendsmagazine.com www.rosswulf.com https://www.callookvw.com  

John Maher is known to some people as the drummer for the early punk rock band the Buzzcocks. Starting in a punk band in the beginning of the punk rock era is pretty legendary. He also happen to be at the same place in the UK in the early days of when Volkswagen dragracing started to takeoff. John, after being in a band had an engine mishap (done by another shop) started repairing Volkswagens and soon after started rebuilding engines. His competition started at his first VW event when he entered the engine pull competition. Soon after he was building competition race engines on to building his first oval window drag car studying the pages of hot VW's magazine to see what was happening in the US. On this podcast you'll hear a lot about the early days of drag racing in the United Kingdom. Lots of good information and we go over what John's favorite engine build. Why did he move to Isle of Harris and more. Although he's living on the isle of Harris off of Scotland. He still builds engines to this day, so if you're needing an excellent motor built, check him out at johnmarracing.com    https://johnmaherracing.com www.letstalkdubs.com www.vwtrendsmagazine.com www.rosswulf.com  

Politicians risked a €150 fine to secure optimal lamppost positions for their posters in the lead up to the European and Local Elections. Posters are only permitted in public places 30 days before polling and must be removed by June 14th. But do we still need election posters? Andrea was joined by Author and Journalist with the Wexford People, Simon Bourke, and Labour Councillor in Cork, John Maher, to discuss. Image credit: rollingnews.ie

FOOTBALL: Galway midfielder John Maher with Galway Bay FM's Jonathan Higgins after their National league victory over Monaghan

With a difficult spring leading to challenging grazing conditions, Teagasc Grass10 Manager, John Maher, is on this week's Beef Edge podcast with his top tips in relation to grassland management this spring.  John discusses the current soil temperatures and grass growth across the country and on farms where grazing has been delayed and very little grazing has taken place to date, John explains what the key steps are to get stock to grass in the coming weeks.  John highlights the grazing targets to hit to avoid having too much grass left at the end of the rotation or having too much grazed.  Slurry has been spread on most farms and for those planning to go with slurry in the coming weeks John advises this should be applied on silage ground. For more episodes from the Beef Edge podcast, visit the show page at:https://www.teagasc.ie/thebeefedge Produced on behalf of Teagasc by LastCastMedia.com 

The Galway senior football team sees just one change from the side that beat Tyrone for Sunday's (25th February 2024) National League Round 4 encounter with Derry. Cein D'Arcy comes into the first 15, replacing the injured Matthew Tierney. But in good news for Padraic Joyce's charges, St. James' Paul Conroy is fit enough to start, while Claregalway's Jack Glynn is included in the matchday 26. The team in full: Connor Gleeson in goal; A full back line of Johnny McGrath, Seán Fitzgerald and Seán Mulkerrin; Dylan McHugh, captain John Daly and Kieran Molloy are the half backs; Paul Conroy partners John Maher in midfield; Johnny Heaney, Cein D'Arcy and Cathal Sweeney are on the '40; And an inside line of Robert Finnerty, Cillian Ó Curraoin and Liam Ó Conghaile. After the team was announced, Galway Bay FM's  Jonathan Higgins joined Darren Kelly on 'Over The Line.' == Throw-in at Pearse Stadium on Sunday is 1.45pm and we'll have LIVE coverage here on Galway Bay FM. The 'Over The Line' weekend preview show broadcasts with Darren Kelly broadcasts every Friday evening from 7pm on Galway Bay FM.

Happy Thanksgiving! Today Dave brought back some great concert stories for you to revisit! With Tim Pawlenty, Tim Mauer and John Maher...Sponsored by Aquarius Home Services (https://aquariushomeservices.com/), Star Bank (https://starbank.net), UCare (https://www.ucare.org/) Propane Association (https://www.propane.com) - and is recorded in the Aquarius Home Services Studio!Chanhassen Dinner Theatre (https://chanhassendt.com)

Happy Thanksgiving! Today Dave brought back some great concert stories for you to revisit! With Tim Pawlenty, Tim Mauer and John Maher...Sponsored by Aquarius Home Services (https://aquariushomeservices.com/), Star Bank (https://starbank.net), UCare (https://www.ucare.org/) Propane Association (https://www.propane.com) - and is recorded in the Aquarius Home Services Studio!Chanhassen Dinner Theatre (https://chanhassendt.com)

Cllr. John Maher on illegal parking in the city, a discussion on water charges, and a look at this year's Holly Bough with John Dolan. Tune into the Neil Prendeville Show weekdays from 9am on Cork's Red FM. May contain sensitive content.

John Thomas Miller, 74, of Henrico County passed away on Tuesday, October 10, 2023. He was preceded in death by his parents Frances and William Miller. He is survived by his devoted wife of 44 years, Claudia Maher Miller. He is also survived by his sisters-in- law, Karen Maher Reibsamen and Joanne Maher, and his brothers-in-law, Michael Maher and John Maher and his wife Benet as well as numerous nieces and nephews and great nieces and nephews. John had a long, distinguished 38 year career with MassMutual as a financial advisor. Over the course of his career, he was a...Article LinkSupport the show

John Maher and John O'Loughlin from the Grass10 campaign join Emma-Louise Coffey on the latest Dairy Edge podcast to discuss the key learnings from farm visits for Grass10 competition applicants. John Maher explains that these farms are good at basic grassland management as well as demonstrating excellence in nutrient management and biodiversity. John O'Loughlin highlights the sources of nitrogen from mineralisation, organic fertilisers, chemical fertilisers and alternative pastures such as white clover. The trend in use of chemical fertilisers is declining due to improved nutrient management and regulation. John also explains that farmers need to continue to make better use of slurry and incorporate legumes into pasture swards to maintain grass productivity.For more information on the Grass10 competition visit:https://www.teagasc.ie/crops/grassland/grass10/grassland-farmer-of-the-year-/ For more episodes from the Dairy Edge podcast go to the show page at: https://www.teagasc.ie/animals/dairy/the-dairy-edge-podcast/ The Dairy Edge is a co-production with LastCastMedia.com

Tommy Rooney brings you the immediate reaction from Dr. Hyde Park where Galway have just beaten Roscommon in their Connacht SFC semi-final. We'll hear from Galway boss Paraic Joyce, their midfielder John Maher, and Roscommon manager Davy Burke before some analysis on the full-time whistle from Shane Curran.

For this week's podcast version of the Let's Talk Dairy webinar series, George Ramsbottom was joined by Mike Dineen, Teagasc to discuss supplementation guidelines for cows in early lactation.  Elsewhere on the webinar, John Maher, Grass10 Programme Manager gave an update on the grass situation for this week. To register for future Let's Talk Dairy webinars go to:https://www.teagasc.ie/corporate-events/lets-talk-dairy/ For more episodes from the Dairy Edge podcast go to the show page at:https://www.teagasc.ie/animals/dairy/the-dairy-edge-podcast/

How do you order an insane 1-of-1 Corvette ZL1 that wasn't available to the public?  How are Don Yenko and Gulf Oil's Grady Davis connected to the Corvette known as the “Orange Car”?  Join Greg Stanley and Car Specialist Greg Porter as they discuss how this iconic ZL1 came to be with its original owner, John Maher.  Stay tuned as Greg reviews other 1-of-1 cars that will be available at RM Sotheby's Arizona sale.  You can learn more at https://rmsothebys.com/en/home/lots/az23 Cars mentioned in this episode: 1969 Chevrolet Corvette ZL1 2012 Lexus LFA 1953 Fiat 8V Ghia Get your FREE collector car consultation appointment by clicking here: https://thecollectorcarpodcast.com/contact/ Do you enjoy this podcast and want more?  Then see more content on YouTube at The Collector Car Podcast YouTube Channel.  Greg shares Virtual Car Shows, Museum Tours and more every week. Please support our sponsors: RM Sotheby's, Advantage Lifts, Euro Classics and Pioneer Electronics. Follow The Collector Car Podcast: Website, Instagram, Facebook, YouTube or communicate with Greg directly via Email. Join RM Sotheby's Car Specialist Consultant Greg Stanley as he applies over 25 years of insight and analytical experience to the collector car market. Greg interviews the experts, reviews market trends and even has some fun. Podcasts are posted every Thursday and available on Apple Podcast, GooglePlay, Spotify and wherever podcasts are found. See more at www.TheCollectorCarPodcast.com or contact Greg directly at Greg@TheCollectorCarPodcast.com. Are you looking to consign at one of RM Sotheby's auctions? Email Greg at GStanley@RMSothebys.com. Greg uses Hagerty Valuation Guide for sourcing automotive insights, trends and data points.  

John Maher has been called the Defender of our Defenders because he is the attorney that has represented many of our military veterans that have been wrongly accused by not only the opinions of many but by the evidence he has brought forward. So why are they still in prison? And why are they not given the same Constitutional rights as the ones they signed a blank check for to the United States of America to defend that regular citizens get? He talks about some of the cases, the evidence, and the situations to give you an idea. But he also makes the case for amnesty for the veterans of The Iraq and Afghanistan wars exactly like what has been done for every war America has been in.

Neil chats with Cllr. John Maher on the petrol bomb attack in Ballyvolane, callers on the elderly getting scammed, and is asking people where they're from rude. Tune into the Neil Prendeville Show weekdays from 9am on Cork's Red FM.

I'm back with three great guys for part two on passion and purpose. We push further into family, lessons learned, and perspective. Twenty years of growth together in the same industry makes for great conversation. Be sure to listen to part one if you haven't heard it yet! We also talk about a friend Allen and I have in common, Dan Tyre, who is inspiring and incredibly interesting and generous.  I sit down with John Maher, who has dedicated a career to recruiting and placement, Jud Holmes, owner of Innovate Mortgage, and Allen Plunkett, owner of Phoenix Staff. This is part two of a two part series. I hope you enjoy!

It's so great to revisit with colleagues and friends from the early days in our careers. I visit with three great guys who were all together with me for over 20 years in the talent acquisition space, and we discuss some of the mentors that were meaningful, what led us to the same employment all those years ago, and talk about passion as it relates to life, career, and what we feel is important to share with you. John Maher, who has dedicated a career to recruiting and placement, Jud Holmes, owner of Innovate Mortgage, and Allen Plunkett, owner of Phoenix Staff. This is part one of a two part series. I hope you enjoy! More episodes at StacieBaird.com.

By Walt HickeyWelcome to the Numlock Sunday edition.This week, I spoke to Eric Vilas-Boas who wrote If Rotoscoping Isn't Animation, Nothing Is for Vulture. Here's what I wrote about it:This year director Richard Linklater released the film Apollo 10 ½: A Space Age Childhood, which is animated through rotoscoping. Essentially, live-action footage is painstakingly animated over using a technique that harkens back to the dawn of animation, a process that required a suite of about 200 2D animators for costs upwards of $20 million. The animated film, however, has been rejected by the animation committee of the Academy Awards, arguing it relies on live-action footage even though the film clearly surpasses the requirement 75 percent of running time must be animated. Linklater and company are ticked off, claiming that the branch has been captured by corporations and aimed at children, with 19 of the past 21 awards for Best Animated Feature going to CG-animated kids movies, and with just two independent studies winning.Eric is brilliant on the topic of animation, he was one of the founders of The Dot and Line animation blog and is one of the most plugged-in writers on the topic these days. We spoke about why the awards scene around animated film is chaotic, why it's a demoralizing moment to be in the field, and how streaming has upended the industry. Eric can be found at @e_vb_ and at Vulture.This interview has been condensed and edited. You wrote a really fascinating story about a new film that's coming out from director Richard Linklater. Before we dive into the whole concept of rotoscoping and whatnot, do you want to tell folks a little about your history with animation? You're currently at Vulture, you've got a long history of working in this space. What's been your journey in covering animation so far?I've been interested in this area of coverage for a long time. I always wanted to be an entertainment journalist. I always wanted to angle my career in that direction. A buddy of mine and I looked around at the space of magazine journalism a few years ago and we noticed, "Oh, there's no The New Yorker for animation coverage." No one covers cartoons with what we thought was a level of both consistency and seriousness.We started this website called The Dot and Line based off an iconic Chuck Jones short cartoon; that was in 2016. My friend and I, John Maher, started that site. That site was just our way of covering animation from a fan perspective and a magaziney perspective, a bloggy perspective, and also covering the business through the same lens.We never made any money. The Dot and Line shut down, we gave it a viking funeral in 2020, in the beginning of the pandemic, very lovingly.I always really loved cartoons and animation. I wanted to cover it more deeply and make sure that it had a place in the media ecosystem that I was working in. These days I've parleyed that experience into writing about animation for Vulture, for Thrillist in the past, for Hyperallergic, for The Observer. Now I'm currently in Vulture where I edit most of our streaming coverage, and then also work on the occasional animation and cartoons piece, which brings me to this topic today.I just wanted to make sure that we got that set up, because there's this idea that you've always been reporting on how there's tension in animation, how there aren't a lot of people who treat it seriously, that there's a tremendous amount of effort and art that goes into it but that mainstream sources oftentimes don't necessarily understand what some of the power and appeal of it is. That all really comes to a head in the story. Do you want to talk a little bit about Apollo 10 ½ and how it was made?It definitely hits a lot of points for me. Apollo 10 ½ is a rotoscoped movie directed by Richard Linklater, a very well-regarded indie filmmaker who has done both animated movies like A Scanner Darkly and Waking Life as well as live-action movies like the Before trilogy and Dazed and Confused, and a few other things that you might have seen before. Apollo 10 ½ is basically his latest animated effort. It was made by a large team of around 200 animators through a studio called Minnow Mountain, based in Austin, Texas, where Richard Linklater is also based. Apollo 10 ½ is essentially a coming-of-age fantasy story about a kid who gets to experience sitting in a NASA space mission.The opening hook of the movie is like, "Oh, we made the space capsule too small and now this preteen child must be signed up for a NASA mission." And it's a fantasy. It's meant to be fantastical in a way that live action can't be. Richard Linklater has talked about this, so that's all well and good. Apollo 10 ½ was released on Netflix earlier this year, over the summer. It was also submitted for Academy Award consideration for Best Animated Feature.Best Animated Feature is an interesting category and we can get into why. But long story short, the film was rejected from consideration over the summer on the grounds that it "did not meet the definition of animation" according to the Academy's feature animation committee.That's ticked a lot of folks off, because it is animated with a technique used called rotoscoping which as you wrote, goes back to some of the earliest days of not just animation but film, period. Do you want to talk about what the controversy is there?To give just a definition, rotoscoping is essentially you'll film something in live action. The tool that was invented was literally called the rotoscope, and it was invented by this animator Max Fleischer, who people might know from the Superman cartoons. These old 1940 Superman cartoons are some of the best cartoons of their kind even to this day; they're very well respected. He invented this thing in 1915 called the rotoscope. What the rotoscope is is essentially a multi-plane camera on steroids that allows you to film something in live action, and then to trace the images of what's been filmed into an animated form — to trace the outlines of something and create art out of it, essentially.The Fleischer brothers used this on a number of their animated cartoons. They had this series called Out of the Inkwell: They traced Cab Calloway, the jazz musician, dancing and doing some awesome moves in some of their cartoons. The upshot of all this is that it looks really good. It's an easy way to capture fluidity and a certain level of realism, without having to draw every single thing from nothing, essentially. It's a technique that's been used for decades upon decades by not just the Fleischers but also animators at Disney. Snow White heavily referenced a performer named Marge Belcher using similar techniques.It goes all the way to Ralph Bakshi's 1970s Lord of the Rings film, which famously uses rotoscoping. You can argue one way or another over whether Ralph Bakshi's rotoscoping looks good or not. I think a lot of it looks really good. Lord of the Rings is not a very good-looking movie, but it's interesting, I think.People feel a lot of different ways about rotoscoping. Part of the mystique of animation is that something is artistic and being delivered in front of you, in a moving way that literally tricks you to think that these images that are just layered on top of each other very, very fast are actually moving. That's the point. I think that it takes an element of the mystique out of it, or the artistry out of it, to hear later on, "Oh, that was traced," or something like that. But the reality is this is just a tool, it's just a technique that a lot of animators and a lot of your favorite movies have actually deployed over the years. A lot of movies that you might know.The crux here is that the animated film division of the Academy came to the determination that this wasn't an animated film, because it required rotoscoping as much as it did. And it's got a lot of people ticked off for a lot of different reasons.2D animators obviously have had a hell of a time just continuing their craft. Just in general, the category as you wrote has been really dominated by fairly colossal corporate interest for a while. Do you want to talk a little bit about what specifically this tempest is all about?I think it's really frustrating to anybody who knows about the history of animation to call a decades-old technique used in animation not animation. So that's one side of that argument.Another side of this argument is the corporate aspect of the specific animated feature award. It's not Best Picture, which has been around for forever. It's not as clear-cut as Best Actor or Best Actress or something like that. Best Animated Feature has been around since the year 2001, so it's newer. Ever since 2001, it's always been largely dominated by either 3D CGI movies and/or films that are owned or have been distributed by Disney-Pixar. To pull out some examples, I think Shrek won the first year, and last year Encanto won.I don't have the history in front of me, but every year it's an ongoing joke in the animation community like, "Oh, another CGI movie is going to win." And it's very rare that, number one, a 2D film wins, even more rare I think than that a film that's not owned by a large mega-conglomerate, either Disney or Dreamworks, wins.They've all been Disney, Pixar, Dreamworks, Sony, with the exception of one Aardman picture, and then Spirited Away.Two independent studios have won over the past 20 years, which is like, I personally don't like those numbers. A lot of folks can say otherwise.And then there's this other side of the argument, and I think the animator Phil Lord got into this a little bit when he tweeted last year and a lot of people tweeted: The larger cultural understanding of the animated feature category is that it's made for children. That animation is just for kids, and that this is a juvenile pursuit. I think that the presenters at last year's Academy Awards leaned into that.It was really patronizing, if I recall.Yeah. The tone of that is very patronizing. You look at the animator Richard Williams who passed away a few years ago, this is a person who is known for a hyper-realistic, very, very fluid animated style. He's the reason that Who Framed Roger Rabbit looks as good as it does, because he impressed upon his animators, "You have to make sure the eyelines match up between the cartoon characters and the actors on stage."You look at artists on his level or on a Miyazaki level, or to go back even further a Chuck Jones level, and to say that they are making stuff that's only for kids is, if it were me, if I were in their shoes, I would find it very offensive. I would find it very patronizing.It's an interesting category for a lot of reasons. I looked at it last year because I'm obsessed with the Oscars, and Pixar usually gets a bid, Disney usually gets a bid, Dreamworks usually gets a bid, one of the other biggies gets a bid. And then they'll usually get an international feature or one of the Ghibli, Aardman worlds.It's weird that there's clearly a degree to which the animators within the division have enough clout to get those nominees for those international features and those smaller indie features, but it does seem that the branch is dominated by the kind of folks who just want to give it to Pixar, Disney or Dreamworks.That's the story the numbers seem to tell us. I think one of the frustrations, and I understand why it has to be this way, is that you do want to know how these voting bodies work, but it raises a wide variety of complications if we knew exactly how everybody voted, but a lot of the stuff happens in a very opaque way. Richard Linklater, in my story, when I interviewed him for this Apollo 10 ½ thing, his words I think were, "We really just don't know who's behind this decision making." The only way that he can conceive of it is that like, they must have something against rotoscoping, or, against us, "us" speaking for the independent animators that he works with.To him, to them, it feels like a David and Goliath situation where I'm sure a film like the latest Disney-Pixar thing that is made for $150 or $200 million or whatever it is, they would probably have no trouble getting nominated for anything, for clearing through any of the rules that are stipulated. This film, which is made for $20 million and there's definitely an outsider feeling there on the part of him and his animators, they're running into trouble.It's a challenging category because again, the work is really fairly incredible coming out of even the larger houses, not to diminish any of that. It is just weird.That's the thing too. No value judgment, it's not an artistic judgment on the artistry of a film like Encanto or Turning Red which are stunning, beautiful animated movies. I cried during Encanto not quite like I'd cried in any movie that year that it came out. But I think the tension is really like, "Oh, why is animation only this?" I think that's the question that is on some of these other animators' minds and on Linklater's mind.It's almost entirely 3D animated stuff. Again, I'm a LAIKA stan, and it's just shocking to me that they occasionally get the nominations, but it's a little evident that the body is just going to be predisposed toward 3D computer-animated graphic stuff instead of the 2D stuff, instead of the anime stuff, instead of the rotoscoping and stop-motion stuff.Yeah. LAIKA is a perfect example; just everything that they put out is amazing, it just looks stunning and it feels like if they get a nomination, it's a good year.You also cover a lot about just how the business of animation and streaming has really fundamentally changed; a lot of that, whether it's Crunchyroll merging with Funimation, whether it's all these streaming services jumping directly into the world of animation and then some of them getting cold feet and then getting the hell out. It's been an interesting couple of years for the business itself. Do you maybe want to talk a little bit about streaming and how that's changed some of the math for animated stuff?I'm glad you asked about that because we're in this moment right now, this sense in the animated world that this idea that animation and animators are playing second fiddle constantly to the world of live action. It shouldn't really be that way. These movies and shows take a lot of effort to produce and they do connect with kids and with adults in very, very profound ways. But we're in this moment where it's like, "Oh, you have this corner of the entertainment industry that is doing all this stuff but it feels like it's not getting recognized."Even within that side of the entertainment industry, you have these aspects of it that are, like anything else, it feels like the big dogs are running the show, like the indie animators are doing their own thing, doing something different but then maybe they're being shut out of awards consideration.The same is happening on a macro level. In terms of what I've been covering, to take the streaming wars for example, part of the larger capitalist world in which we operate — for example, Warner Brothers Discovery, the company removed I think 36 titles off of HBO Max without warning over the summer as they were trying to carve down on overhead and slash $3 billion worth of debt which the merged company had inherited.A big part of that was animated shows. A lot of animated shows were in that mix. A few of them, like Infinity Train for example, an amazing show, a brilliant genius show, very not of the same mold as other programming like it, Infinity Train was spiked from the service and all their social media accounts were eliminated. I think the music on Apple Music was removed. This all happened within a span of a few days to a week.I don't know the status of Infinity Train's physical media, but the sense of it was that this show had disappeared off the internet, completely disappeared. And as a fan, you're kind of like, "What the f**k?" As a fan, you're like, "What just happened here?" Offhandedly, I talked to people who worked on the show, and they were also just confused like, "What's going on?" I think that they were all blindsided. The creator of the show, Owen Dennis, wrote a very good Substack post on that exact thing, that feeling of blindsidedness.You've got all these things going on and it's not helping. Animators, or people who are fans of animation, it doesn't help them that some movies are being treated with seemingly a different set of rules as other movies, debatable on whether those rules should exist or not as they pertain to the Academy Awards. It feels like they're being devalued by some of these large companies that own some of the titles that they worked on, either to slash them to just offload debt or to eliminate them entirely for no reason. It seems like the reason is money, which to me doesn't really seem a good reason at all.Then at the same time, something like the Academy Awards, and the award is presented, are we then going to be treated to some hacky line from the last year's best supporting actress or whatever saying, "Oh, animation is so good for kids. It's so great to watch when you grow up, this is what you do when you're a child, and that sense of wonder" or whatever.I don't know, man. If all this stuff is happening to you and you're an animator and you're already baseline underpaid, because everybody's underpaid in Hollywood or anywhere in media, you learn that your work is being devalued by the company you work for. You learn that, an opportunity that I have to go on stage and accept this award is being seen as this purely juvenile pursuit that only appeals to children. Again, we're speaking hypotheticals for all of this, but the multinational company worth billions upon billions of dollars that happens to have billions upon billions of dollars in debt, essentially disappears your cartoon from the service that it was running on?I would be demoralized. I'd be very demoralized.Demoralized is a really good word. It's also fascinating because it's objectively wrong. Adult animation, it's really hit a stride recently; demand is only going up.I alluded to Crunchyroll earlier, but again we've seen demand for anime go through the roof. It seems like it's very much a dated mentality that animated programming is exclusively for kids. It is just a separate art form in a way.You've written a lot in particular about how creatively we've been in a bit of a renaissance when it comes to what one can do with animation and who animation can be for.Yes, absolutely. I don't know, some of the best action filmmaking that I have ever seen has come from Genndy Tartakovsky, director and creator of Primal and Samurai Jack and Dexter's Laboratory. I interviewed him a few years ago and I can't remember the exact quote, I've got to pull it up in my notes. I think I asked him something on the level of, "Would you want to direct a live-action film?" or something like that. And for him, it's not about that. It's not about "graduating" from animation into live action. I can't remember the exact quote, but he told me, basically, it's all about filmmaking. It's all about composing shots, creating storyboards, getting the timing, getting the action and putting a film together.I just saw a tweet today, it's Steven Spielberg getting interviewed about something 30 or 40 years ago. He talks about how animation is the father of live-action filmmaking. The quote is like, "They need to know how a chipmunk rolls into a bank of snow or whatever, because they need to paint every motion of that chipmunk rolling over and over and over across 12 cells per second." This is Steven Spielberg. Steven Spielberg gets it. Why can't anybody else get it?I talk to folks in the comics world who say very similar things, where it's just, they're not trying to storyboard Marvel movies 10 years from now. They're trying to do something in a format that you can uniquely only accomplish in that. You can do things in animation that you cannot do in live action and that's what makes it very cool.It's not for nothing, but the conversations that are happening in the film and TV animated world are probably also happening at the same time in the VFX animation world. We're hearing a lot about these video effects workers on these Marvel movies talking about their labor issues, everything from increased workload leading to overly demanding schedules, and so the product resulting in it looking bad, the product looking not what a movie should look like and not adhering to some of these basic rules of filmmaking, framing and making sure what the stakes are. I think we're just in an interesting period where a lot of these big productions are coming out, you've got Star Wars, you've got all these Marvel movies, you've got the DC Extended Universe. All those require intense special effects like animators. And these two practices are very closely linked, even if they're not going after the same goals.Where can folks find you, Eric? Where can folks find your work and what are you working on these days?Yeah, I'm at Vulture. My Twitter handle is @e_vb_, and anything I write these days typically winds up at vulture.com.If you have anything you'd like to see in this Sunday special, shoot me an email. Comment below! Thanks for reading, and thanks so much for supporting Numlock.Thank you so much for becoming a paid subscriber! Send links to me on Twitter at @WaltHickey or email me with numbers, tips, or feedback at walt@numlock.news.  Get full access to Numlock News at www.numlock.com/subscribe

Since The Dairy Edge launched in January 2018 as Ireland's first dairy-focused podcast, there have been 245 episodes released weekly as well as additional bonus content from the Let's Talk Dairy webinars presented by Stuart Childs. The Dairy Edge has now reached the remarkable milestone of half a million listens and to celebrate that incredible achievement, we have compiled clips from some of our most popular episodes. Hear from Grass 10 manager John Maher outlining the principles of grassland management as identified in the Grass 10 initiative; dairy advisor Grainne Hurley explains the importance of achieving graze outs and its impact on sward and cow performance; Teagasc's Laurence Shalloo rationalises the seasonal production profile of Irish milk production and why we don't operate a flat milk curve; looking to profitability and areas to invest money and see the greatest return on investment on dairy farms, Signpost advisor Seamus Kearney quantifies the substantial returns from improving soil fertility. Plus, dairy farmer Mike Bermingham explained the move to reduce cow numbers having identified a proportion of cows in the herd that were being fully fed from purchased feed; Head of Dairy Knowledge Transfer Joe Patton outlined how to create a fodder reserve to reduce the risk to dairy farm businesses; Siobhan Kavanagh & Tom O'Dwyer from the Signpost Programme provided context for the environmental policy that will inform how we farm and they pose the question have we adopted proven technologies in order to take on the challenge of reducing the impact of farming on the environment. Finally, to renowned Agri-consultant, Matt Ryan, who has worked in the dairy industry for over five decades and Matt highlighted the strides that have been made in labour studies that can promote work-life balance before reflecting on dairy farmers' ability to cope with the various challenges that exist today. Podcast survey: In order to understand the aspects of podcasts which are most appealing and beneficial to you the listener, it would be appreciated if you could take 3-4 minutes to complete the following survey to give your feedback:  https://forms.office.com/r/mDZTE9zPy4  For more episodes from the Dairy Edge podcast go to the show page at: https://www.teagasc.ie/animals/dairy/the-dairy-edge-podcast/ The Dairy Edge is a co-production with LastCastMedia.com

In this episode of Digital Marketing Madness, John Maher and John McDouggall from McDougall Interactive chat about Google business profiles. They explain the importance of these listings and give listeners tips on how to claim their profiles.

In this episode of Digital Marketing Madness, John Maher and John McDougall talk about how to develop good writing habits. They explain that whether you're writing for work or play, you need a consistent routine. They also cover tools and apps to help increase the number of words you generate, and then, they talk about editing strategies.

John Maher and John McDougall talk about Google Business Profile, how to claim your listing, find your reviews link, and optimize your business for local search.

John Maher and John McDougall talk about mistakes that people often make when redesigning a website, which can negatively affect your SEO.

Ever wondered about the story behind the music video for 'Dancing in the Dark' by Bruce Springsteen? Well, you can get the inside story from someone who was there for the entire filming of it. John Maher, Vice President of Brand & Broadcast Production with the Minnesota Wild, joins The Daver to talk the details of that memorable event as well as all the other concert experiences that John's been keeping a record of. Sponsored by Minnesota Propane Association (https://discoverpropanemn.com/)

Ever wondered about the story behind the music video for 'Dancing in the Dark' by Bruce Springsteen? Well, you can get the inside story from someone who was there for the entire filming of it. John Maher, Vice President of Brand & Broadcast Production with the Minnesota Wild, joins The Daver to talk the details of that memorable event as well as all the other concert experiences that John's been keeping a record of. Sponsored by Minnesota Propane Association (https://discoverpropanemn.com/)

On the 29th of December, 1996, Gardai were called to a flat on Liffey St in Dublin city centre. Inside was the body of 26 year old British-Sri Lankan woman, Belinda Pereira, who was staying in Dublin for just a week. The nature of her trip prompted many inches of tabloid fodder. She had come to Dublin in order to carry out sex work.  But the voyeuristic media attention on Belinda's case did not last long.  Sadly, today, her name is all but forgotten.  ************ Join me at CrimeCon Uk on June 11-12 in London 2022! Head to crimecon.co.uk and use the code MENSREA for 10% off (and to let them know I sent you!) ********** With thanks to our sponsors for this episode: Sign up today for a free trial of Noom – the habit changing app for a healthier you! Find it at noom.com/mensrea  Sign up for professional online counselling at betterhelp.com/mens and get 10% off your first month! ********* Find us on Facebook or Twitter! With thanks to our supporters on Patreon! Donate today to get access to bonus and ad-free episodes! Check out the Mens Rea Merch Store! ********* Theme Music: Quinn's Song: The Dance Begins Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/ Additional Music:   Allemande (Sting) by Wahneta Meixsell. Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/ ************ Sources: John Maher, “Parents due to arrive to identify murder victim” in The Irish Times (1 January 1997) p. 4. Stephen Rae, “New 'Flying Squad' ready to smash the crime lords” in The Evening Herald  (4 January 1997) p. 2. “New breakthrough in search for killer” in The Evening Herald  (4 January 1997) p. 36. Mike McNiffe and Joanne McElgunn, “Greedy pimps who cashed in on Belinda's life” in The Sunday World  (5 January 1997) p.p. 2-3. Ben Proctor, “£3000 for sex trip to Ireland” in The Sunday World  (5 January 1997) p. 2. “Bank manager's love for hooker” in The Sunday World  (5 January 1997) p. 4-5. Joanne McElgunn, “Sex trade is terrified” in The Sunday World  (5 January 1997) p.p. 4-5. Susan McKay, “The high price of selling sex” in The Sunday Tribune   (5 January 1997) p. 11. Tom Cooney, “Prostitutes are flesh and blood just like we are” in The Sunday World  (5 January 1997) p. 8 John Lee, “Dublin's high-tech call girls go mobile” in The Sunday Independent  (5 January 1997) p. 12. “The pimp who ran Belinda brothel” in The Sunday World  (5 January 1997) p. 1, 2, 3. Mike McNiffe and Joanne McElgunn, “Find my girl's savage killer” in The Sunday World  (5 January) p.p. 1 – 5, 8. Frank Khan, “Murder victim's lifestyle big shock” in The Sunday Independent  (5 January 1997) p. 3. John Maher, 'Sri Lankan parents identify body of murdered woman” in The Irish Times (6 January 1997) p. 7. Annemaria McEneaney, “Gardai sift statements for call girl death clues” in The Irish Independent  (6 January 1997) p. 9. “Belinda: Gardai hunt for clues” in The Evening Herald  (6 January 1997) p. 6. Stephen Rae, “Call girl killer: hunt in Britain” in The Evening Herald  (8 January 1997) p. 16 Stephen Rae, “Gardai appeal for information” in The Evening Herald  (9 January 1997) p. 1 “Picture of victim released” in The Irish Times  (10 January 1997) p. 4. Tom Reddy, “Gardai release slain call girl photo” in The Irish Independent  (10 January 1997) p. 4. “Call girl killed 'for her money'” in The Evening Herald   (10 January 1997) p. 18 “Cash clue to killing” in The Irish Independent   (11 January 1997) p. 9 Joanne McElgunn, “Slain hooker's diary names celeb clients” in The Sunday World  (12 January 1997) p. 4. Joanne McElgunn, “Inside the sleazy world of Irelands pimps and prostitutes” in The Sunday World  (19 January 1997) pp 30-31. Liz Walsh, “Pereira 'was not killed by one of her clients” in The Sunday Tribune  (19 January 1997) p. 14 Liz Walsh and Susan McKay, “Anonymous 'Asian beauty' died as she lived” in The Sunday Tribune  (19 January 1997) p. 14. Liz Walsh, “Pereira 'was not killed by one of her clients” in The Sunday Tribune  (19 January 1997) p. 14. Jim Cusack, “Murder probe told of severe beating of prostitute” in The Irish Times  (20 January 1997) p. 11. “UK pimps 'protect' coloured hookers” in The Sunday World  (26 January 1997) p. 2. Joanne McElgunn, “Pimp suspect in hooker slaying flees to Britain” in The Sunday World  (26 January 1997) p. 35. Joanne McElgunn, “50 clients of dead vice girl talk to cops” in The Sunday World  (9 February 1997) p. 32 Stephen Rae, “'Game' that can end in murder” in The Evening Herald  (10 February 1997) p.p. 16-7. Richard balls, “Inquest on murdered woman adjourned” in The Irish Times (19 April 1997) p. 4. “Call-girl inquest is put back for probe” in The Irish Independent   (19 April 1997) p. 4. “Coroner adjourns Pereira inquest” in The Irish Times   (17 April 1998) p. 4. Stephen Rae, “Sex ring smashed” in The Evening Herald   (19 February 1998) p. 1, 2. Jerome Reilly, “Belinda Pereira: the secret life that led to her lonely death” in The Irish Independent  (18 April 1998) p. 31. Kitty Holland and Conor Lally, “The sad life and death of Sinead Kelly” in The Sunday Tribune  (28 June 1998) p. 10 Paul Williams, Mike McNiffe and Joanne McElgunn, “Red-light nutter could kill again” in The Sunday World  (28 June 1998) p. 4. “Appeal for information on killing” in The Irish Times  (30 July 1998) p. 7. Catherine Cleary, “400 questioned over murder” in The Irish Times  (30 July 1998) p. 7. Billy Foley, “Young prostitute killed by repeated blows to her head” in The Irish Independent  (30 July 1998) p. 6. Catherine Cleary, “Reward for news of murders” in The Irish Times  (1 August 1998) p. 5 Eugene Moloney, “Drug dealer is held in probe of canal murder” in The Irish Independent  (1 August 1998) p. 7. “Ciara's case is on list” in The Drogheda Argus and Leinster Journal  (7 August 1998) p. 7. Stephen Rae, “Prostitute murdered over £850 drug debt say gardai” in The Irish Independent  (7 August 1998) p. 3. “New plea on murdered prostitute” in The Sunday World  (25 October 1998) p. 2. Lara MacMillan. “A magazine that's more 'out' then 'in'” in The Evening Herald(  12 August 1999) p. 19. Jerome Reilly, “Ireland's sex industry: the crackdown begins” in The Irish Independent  (21 August 1999) p. 31. Eilis O'Hanlon, “We can't blame 'In Dublin' for murder” in The Sunday Independent   (22 August 1999) p. 4. Jim Cusack and Judith Crosbie “Garda appeal over abduction and rape of prostitute” in The Irish Times  (27 September 2000) p. 4 “Murder re-lived” in The Evening Herald  (18 October 2005) p. 17. Eugene Moloney, “Gardai renew witness appeal in hunt for prostitute's killer” in The Irish Independent  (18 December 2006) p. 3. Tom Brady, “Cold case investigators confident of breakthrough” in The Irish Independent  (28 November 2007) p. 11. “Appeal for information – Murder of Belinda Pereira on the 29/12/1996” Garda Press office  https://www.garda.ie/en/about-us/our-departments/office-of-corporate-communications/press-releases/2014/december/appeal-for-information-murder-of-belinda-pereira-on-the-29-12-1996.html  (December 2014) “Gardai renew appeal in Belinda Pereira case” in The Irish Examiner https://www.irishexaminer.com/news/arid-30656044.html  (28 December 2014) Jim Cusack, “Belinda killer's remorse could lead to case breakthrough” in The Irish Independent https://www.independent.ie/irish-news/belinda-killers-remorse-could-lead-to-case-breakthrough-30880436.html  (3 January 2015) Michael Doyle, “Cead Mile Murder: The most well known cases over the past 25 years where people came to Ireland looking for a better life – but met a tragic end” in The Irish Sun https://www.thesun.ie/news/1599745/the-most-well-known-cases-over-the-past-25-years-where-people-came-to-ireland-looking-for-a-better-life-but-met-a-tragic-end/ (29 September 2017)

John Maher talks with McDougall Interactive president John McDougall about SEO, what it is, how much it costs, whether you can do it yourself, and some helpful SEO tools.

John Maher speaks with McDougall Interactive President John McDougall on hiring a search engine optimization agency, and offers tips for making the right choice.

John Maher guests today on the only Photowalk show in the podcastsphere. The former Buzzcocks punk rock star talks about his move to a remote Scottish island and how he finds photographic solace in finding the forgotten buildings of the Hebrides in his 'Nobody's Home' project. Also today, burn out, finding a photo project, a life lesson, photographing 'aliens' and the best mail run in the world. The show is supported by MPB.com and our patrons. See the SHOW PAGE for links.

In this episode of Marketing Madness, John McDougall and John Maher talk about keyword tools. They explain how these tools work and why they're important when writing a website. Then, they recommend free and paid keyword tools for listeners to try.

Hugh Karraker & John Maher are creators of the documentary, “All Things Bakelite: The Age of Plastic”. It is one of several documentary features from Director John Maher (Throw it Down), that arrived on multiple digital platforms on June 29, 2021 worldwide. In partnership with Bitmax, Executive Producer Hugh Karraker is bringing his great-grandfather Leo Baekeland’s story to iTunes, Apple TV, Google Play, YouTube, VUDU and more to six continents. The documentary is about Leo Baekeland, a Belgian industrial chemist who forever changed the world. Baekeland was best known for the inventions of Velox photographic paper in 1893, and, more importantly, Bakelite in 1907. He has been called "The Father of the Plastics Industry" for his invention of Bakelite, an inexpensive, nonflammable and versatile plastic, which marked the beginning of the modern plastics industry. Read more at: https://allthingsbakelite.com/Taj Adhav is the co-founder and CEO of Leasecake, a prop tech Orlando, FL-based commercial real estate operating system for location management that has transformed lease and location management for Tenants (Specifically COOs, CFOs, VPs of Real Estate), Landlords and Brokers responsible for managing multiple locations. Customers which include Starbucks, Massage Envy, Jiffy Lube among others rely on Leasecake to provide proactive notifications for all mission-critical, time-sensitive events. Leasecake recently secured $3 million in seed funding in February. Read more at: https://leasecake.com/Visit the Entrepreneur Presenters for September 12, 2021 at their Websites:Cindy Gelormini is a Benjamin Moore Color Expert, Staging Consultant and Real Estate Agent in Northern New Jersey. She works as the in-house decorator and Color Consultant for clients in their homes. As a Staging Consultant, she also helps homeowners and realtors who are selling their homes to quickly and cheaply spruce up their homes to sell, offering low budget solutions to give the home a look that will appeal to buyers. As a Decorating Consultant, she also helps new home buyers choose paint colors, decide where to hang pictures and use what they have to pull together their new home. at: http://www.thepaintdivanj.com/Matt Stranberg is a licensed registered dietitian nutritionist, board certified specialist in sports nutrition and certified strength and conditioning specialist. After his training and graduate programs, he cofounded numerous initiatives at Walden Behavioral Care, including the Walden GOALS program and numerous consultation services designed to assist athletes struggling with eating disorders, disordered eating and problematic physical activity. As a renowned consultant, Matt is known for his dedication to educating and empowering patients of all backgrounds to facilitate a full and meaningful recovery, at: https://www.mattstranbergconsulting.com/ Visit