Podcasts about Katharine Graham

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

In this surprise double drop episode, we rediscover a missing chapter of Truman Capote's Answered Prayers. This missing chapter reveals a bit about the time Truman and Katharine Graham spent on a yacht touring the Greek islands, with all the spiderwebs and hashish included too. Continue your investigation with ad-free and bonus episodes on Patreon! To advertise on Done & Dunne, please reach out to info@amplitudemediapartners.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Since 1998, David Remnick has been the editor of The New Yorker and has written hundreds of pieces for the magazine, including reporting from Russia, the Middle East, and Europe and Profiles of Barack Obama, Bill Clinton, Katharine Graham, Mike Tyson, Bruce Springsteen and more. He also hosts the magazine's national radio program and podcast, “The New Yorker Radio Hour.” He joins live at the On Air Fest to talk about his legendary life and career. Hosted on Acast. See acast.com/privacy for more information.

Larry is joined by filmmakers George and Teddy Kunhardt to discuss their newest documentary ‘Becoming Katharine Graham', currently streaming on Amazon Prime Video. They begin their conversation by talking about what inspired them to start the project and shining a light on the male-dominated world Katharine lived in when she was running the Washington Post. They then debate the accuracy of famous cinematic portrayals of Graham and take a hard look at her relationship to the feminist movement in the late '60s and early '70s (28:49). After the break, George, Teddy, and Larry break down how Graham's famous family is intrinsic to her legacy and share the biggest lessons they learned from making the film (37:57). They end the pod by examining the state of print media in society today and the factors that motivate the Kunhardts to create their patented brand of documentaries (45:54). Host: Larry Wilmore Guests: George Kunhardt and Teddy Kunhardt Producer: Chris Sutton Learn more about your ad choices. Visit podcastchoices.com/adchoices

Hosted by Jane Pauley. In our cover story, Ben Mankiewicz looks at how streaming has changed moviemaking and moviegoing. Also: Tracy Smith sits down with John Lithgow and Geoffrey Rush, stars of the new horror film “The Rule of Jenny Pen”; Norah O'Donnell talks with Warren Buffett about his friendship with the late Washington Post publisher Katharine Graham; Jim Axelrod looks back at the king of late-night TV, Johnny Carson; and David Pogue learns how alien languages are constructed for movies and TV. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Another light week of releases, but are any of them good? Erik Childress and Steve Prokopy talk you through five of them including a documentary on a better person in charge of the Washington Post (Becoming Katharine Graham). Ed Harris factors into two releases this week including a woman manifestsing her PTSD through her fellow soldier (My Dead Friend Zoe) and a crime comedy with an all-star cast (Riff Raff). There is also a bitcoin hostage thriller (Cold Wallet) and an underwater true story that the filmmaker has re-made from their own documentary (Last Breath).   0:00 - Intro 1:56 - Becoming Katharine Graham 7:24 - My Dead Friend Zoe 16:28 - Cold Wallet 22:37 - Riff Raff 32:17 - Last Breath 46:52 - Outro

Katharine Graham was the head of the Washington Post empire during a turbulent time in American history. After a personal tragedy catapulted her into the public eye (and the eye of the hurricane), she took on the doubters and became the most powerful woman in media history. She was an icon of resilience and determination, as well as embodying the belief that a cantankerous, vibrant, and free press is crucial to the very principles of democracy. Field Trip with us! We would love for you to join us in Philadelphia, PA June, 18-22, 2025! For information and to register, head on over to Like Minds Travel. We hope to see you there! This episode is brought to you, in part, by: Lume Deodorant: Use code CHICKS for 15% off Factor Meals: Use this link and code hc50 for 50% off your first box plus free shipping Quince: Give the gift of luxury without a luxury price at Quince.com/chicks Learn more about your ad choices. Visit megaphone.fm/adchoices

What did Ray Kroc, Maya Angelou, Margaret Thatcher, and Malcolm X all have in common? (Don't worry - this isn't a dirty joke!) They were all opsimaths, i.e. a person who blooms late in life. In his new book SECOND ACT: What Late Bloomers Can Tell You About Success and Reinventing Your Life, author Henry Oliver shares the stories of well-known people whose greatest accomplishments happened in or past middle age. In other words, there's still hope for you! Maybe you're 45 and haven't written the great American Novel yet. There's still time! You're 55 and haven't made your first million or billion? There's still time! You're 65 and havne't gotten elected to political office? Well, let's not push it, but you never know. If you are indeed an opsimath, you'll keep working toward your goal for the sake of the thing and not in hope of any extrinsic rewards. In this informative and sometimes humorous conversation, Henry and I—two urbane gentleman that we are—discuss the following: Fluid intelligence v. concrete intelligence Why motivation is the closest thing we have to magic.  How and why to stay in the game as you get older The commonalities among late bloomers include hard work, intrinsic motivation and a willingness to keep trying and learning. The similarities between Ray Kroc's relationship with the McDonald brothers and Mark Zuckerberg's relationship with the Winklevoss twins. How Katharine Graham's family's suffocating wealth both helped and hindered her development Pre-order Henry's book here. Subscribe to his Substack here.  WAIT - don't go until you've done 2 out of these 3 things:

Since 1998, David Remnick has been the editor of The New Yorker and has written hundreds of pieces for the magazine, including reporting from Russia, the Middle East, and Europe and Profiles of Barack Obama, Bill Clinton, Katharine Graham, Mike Tyson, Bruce Springsteen and more. He also hosts the magazine's national radio program and podcast, “The New Yorker Radio Hour.” He joins live at the On Air Fest to talk about his legendary life and career.

Think of CEOs who have made strong rates of return for investors and built durable businesses. What strategies do you associate with their success? Investor and author William Thorndike studied eight CEOs who outperformed the market and their peers. The group included big names, like Warren Buffet and Katharine Graham, but also other leaders who are virtually unknown today. One example is Henry Singleton, an MIT-educated electrical engineer who led Teledyne Technologies from 1960 to 1986. Thorndike noticed that these eight iconoclastic leaders all took a similar approach to capital allocation. They focused on investing their companies' profits to repurchase their own stock when prices were optimal. But they generally avoided very large acquisitions, accruing debt, and paying dividends. In this episode, you'll learn how effective capital allocation strategies, like the ones used by these leaders, can generate wealth for shareholders. Thorndike is the author of The Outsiders: Eight Unconventional CEOs and Their Radically Rational Blueprint for Success. Key episode topics include: strategy, strategic planning, entrepreneurship, operations and supply chain management, leadership, capital allocation, debt, dividends, stock buybacks, acquisitions. HBR On Strategy curates the best case studies and conversations with the world's top business and management experts, to help you unlock new ways of doing business. New episodes every week. · Listen to the full HBR IdeaCast episode: How Unusual CEOs Drive Value (2014)· Find more episodes of HBR IdeaCast· Discover 100 years of Harvard Business Review articles, case studies, podcasts, and more at HBR.org]]>

Fue la primera consejera delegada de una empresa del 'Fortune 500' y la mujer más poderosa de EEUU al mando del 'Post'. Defensora de la libertad de prensa, no se doblegó ante nadie. "Era una mujer en un mundo de hombres. ¿Y qué". A Warren Buffett poco le importaba que Katharine Graham fuera mujer cuando decidió comenzar a invertir en 1973 en The Washington Post, uno de los periódicos estadounidenses de mayor tirada y, durante mucho tiempo, también el más influyente. Clara Ruiz de Gauna, redactora jefe del periódico y autora de la saga sobre los personajes que han hecho historia en el mundo financiero que se publica todas las semanas en EXPANSIÓN, y los redactores del periódico Amaia Ormaetxea y Antonio Santamaría analizan el legado de la gran CEO de la prensa.See omnystudio.com/listener for privacy information.

David Remnick, Author of "Reporting: Writings from The New Yorker," talks about his strange beginnings at The Washington Post including what happened when Katharine Graham took the helm as publisher of her family newspaper, and the state of print journalism in the age of the internet. This full interview from a 2006 episode of "Conversations On The Coast with Jim Foster" can be heard now wherever you get your podcasts.

Learn how to nurture your unique gifts for a career you really love. I bring to you today Lorraine Hariton, a brilliant women with a brilliant career who shows us that success doesn't have to come in a straight line, it can have many twists and turns. As one of the 102 women featured in our new book, Women Mean Business: Over 500 Insights from Extraordinary Leaders to Spark Your Success, co-authored by Edie Fraser, Robyn Freedman Spizman and myself, Lorraine is President and CEO of Catalyst, a powerhouse non-profit dedicated to helping women thrive, from the shop floor to the C-suite, so that everyone can be successful by their own definition. What I love is that Catalyst not only focuses on how women can be effective and improve their capabilities and skills, but on changing the work environment by creating workplaces that work for women. Want to learn about the future of work? Listen in. Watch and listen to our conversation here Key takeaways from my conversation with Lorraine Life is a journey. And that journey is to understand what your passions are, what gets you excited, what gets you up every day enjoying it. In terms of your skills, what do you have with which you can contribute the most to this world?  There are lots of chapters in life. Make sure that you have the resiliency and the learning mindset to go from one chapter to the next. Life can take you in different directions, but you've got to be a lifelong learner. You've got to lean into your strengths.  Periods of transition can be real opportunities. Align your strengths and what you really love to do behind your passions. To connect with Lorraine, you can find her on LinkedIn. Want to know more about women breaking barriers in the workforce? Start with these: Blog: How Can Women Overcome The Roadblocks To Building Their Businesses? Blog: Best Tips And Tricks For Women To Work In Male-Dominated Industries Podcast: Kerry Flynn Barrett—Learn Why So Many Brilliant Women Have Ditched The Corporate Ladder To Start Their Own Business Pocast: Jennifer McCollum—How Will You Change The Face Of Women's Leadership In Your Organization? Additional resources for you My two award-winning books: Rethink: Smashing The Myths of Women in Business and On the Brink: A Fresh Lens to Take Your Business to New Heights Our new book, Women Mean Business: Over 500 Insights from Extraordinary Leaders to Spark Your Success, co-authored with Edie Fraser and Robyn Freedman Spizman  Our website: Simon Associates Management Consultants Read the transcript of our podcast here Andi Simon: Welcome to On the Brink With Andi Simon. I'm Andi Simon, I'm your host and your guide. And as you know, because so many of you come to listen to our podcast, my job is to get you off the brink. I want you to see, feel and think in new ways so you can change, and the times are changing quickly now. I look for guests who are going to help you understand things from a fresh perspective. Today I have Lorraine Hariton here with me. She is a marvelous person who is in our new book, Women Mean Business: Over 500 Insights from Extraordinary Leaders to Spark Your Success. And when you hear what she's going to tell you today, you'll know why Women Mean Business has been such an absolutely amazing experience. Every time I open the book, it sheds new light on what women are doing in business. Lorraine's bio: She's president and CEO of Catalyst. Now, if you're not familiar with Catalyst, it's a global nonprofit working with the world's most powerful CEOs and leading companies to build workplaces that work for women. Catalyst's vision and mission are to accelerate progress for women through workplace inclusion. This lifelong passion for Lorraine has helped her build a career with senior level positions in Silicon Valley as an entrepreneur and executive, and beginning at IBM, Lorraine then served in the administration in the Department of State and developed the global STEM Alliance at the New York Academy of Sciences. She has also served on the UN Women Global Innovation Coalition For Change, the Clayman Institute for Gender Research at Stanford University, and the Forum for Women Entrepreneurs and Executives, but it is as president of Catalyst that I met Lorraine. And that's what we're going to talk about today: about what organizations can do to really build workplaces that work for women. Lorraine, thank you so much for coming today. Lorraine Hariton: Andrea, thank you so much. It's my pleasure to be here. Andi Simon: It's so much fun. Tell the audience more about your journey because I can read the bio. But you've had a wonderful career with a passion and purpose, and I'd like you to share that if you could. Lorraine Hariton: So first of all, I want to say that the career that you just talked about is very different from the career I might have imagined when I was young. It's gone in a lot of different directions. And I look forward to sort of talking about that. So when I was a child, my biggest influence was really my mother, specifically when she came into the workplace, which was in the 50s. She was originally a teacher. And like many of her generation, she went back. She left the workplace when she had her three children. But then she went back and got a master's degree and eventually a PhD in psychology, actually around women's sexual fantasies during intercourse. It was very controversial. She ended up on the front cover of Psychology Today, and then she had the next phase, a career as a psychologist and a lecturer out on Long Island. So she really gave me a sense that you can have different phases in your life, you can accomplish different things, and women should have independent, strong careers. So she was a big influence. Then the other big influence on me was, I had dyslexia, I still have dyslexia. And because of that, I had certain real strengths and certain things that were limitations. I wasn't very popular. I wasn't a great athlete, but I was good in math. I ended up using that math ability to have a career in technology very early on. In fact, when I was in college — I originally went to college in upstate New York, at Hamilton College — my calculus professor suggested that I take an independent study computer science course at Hamilton College before there were even computers on campus. We just had a teletype terminal into the Air Force base in Rome, New York. But I wrote my own computer program. I fell in love with it, and it caused me to transfer to Stanford, where even at Stanford, they didn't actually have a computer science degree. Undergraduate is math sciences, math, computer science, statistics, and operations research. But it really gave me this great foundation into something that my first passion was really around: computers and the application of computers into solving problems. So I transferred to Stanford. I got a sense of that environment. I ended up taking a job, actually, back in New York for American Airlines, doing a big linear programming model for ferrying fuel around the American Airline system. But, I decided I didn't really like just programming. I wanted to do something that was more people oriented within the computer industry. So at that time, IBM was a big place to work. It was like the Google or the Apple of the time. So I got a job actually in sales working for IBM, and I worked in the apparel industry in New York, knocking on doors, selling mid-sized computers to the apparel industry, which was really fun. I really enjoyed it and I excelled at it. So I decided I wanted to be on the business side of the technology industry. I went back to Harvard Business School, got my MBA, and decided to go back to California working for IBM, the next level in the sales track at IBM. And there was the other reason I went back to IBM: to look into all the jobs at Harvard Business School that IBM had for women in leadership roles. It had the ability to balance career and family and a proven track record of enabling women to do that. I was really looking for a workplace where I could be successful balancing career and family, which is still the number one challenge for women in business. And, through my work at Catalyst, I see that every day. So I went back to IBM, but eventually I went into Silicon Valley. IBM actually acquired a company in Silicon Valley. I went to work for them. And then I ended up having a career at IBM. So I started in Silicon Valley, started at IBM, and then I left them to go to become an executive at a mid-sized company. And eventually I actually did two startups in Silicon Valley. So I had a career at all these different levels. But in my early 50s, I wanted to really do something that was more impactful. I had had a successful career there and I became involved in women's leadership issues because really that was a defining thing around my success and my lived experience. I initially got involved in the Forum for Women Entrepreneurs and Executives that became WaterMark. That was a women's leadership network in Silicon Valley. I really benefited from my relationships that I had with women in Silicon Valley. We all bonded together. We even did great trips, like we went to India and Vietnam together. I went to the Clayman Institute for Gender Research. I then decided to, after I left my second startup, to get involved in helping Hillary Clinton run for President of the United States in the 2008 cycle. So I took all my sales skills and my business skills that I had learned, and I focused on fundraising for her. And as a result of that, I became one of her top fundraisers in the Bay area and really expanded my network. I got to know a lot of people and that enabled me to go to work for her, even though she didn't win the the nomination, of course, we all know, but to work for her at the State Department as a special representative for commercial and business affairs. And, by the way, through all of this, I had my two children. I raised my two children in Palo Alto, California. And of course, that was the other part of my life that was, is, and continues to be very important. I now have three grandchildren as well as part of that. So that balance of career and family has always been important to me. I also will mention that being in Silicon Valley in tech in those days had a lot of challenges. And I think that is why that's been so important to me as the second major passion that has driven my life. This focus on women in the workplace, and understanding that I was part of the first generation of women who really came of age after the very substantial change in the women's movement that happened in the late 60s and early 70s, that opened up the doors for women to have real careers.  Like my mother, in her generation, you didn't have young children and work. You couldn't go into the workplace and have a career. We read about Sandra Day O'Connor recently. We know that she wasn't able to do that. Ruth Bader Ginsburg wasn't able to do that. I was part of that generation that went into the workplace that was able to look ahead and develop a career, and was thinking about balancing career and family. But we had a very, very rigid environment. You know, when I had my first child in 1985, we had to order business maternity suits from a catalog. I could only take six weeks off because they didn't have maternity leaves. They just had disability, and when I've met with some of my friends and we talked about this, we all had the same circumstances, didn't have the type of environment that you have right now. So I have that perspective of wanting to change that workplace. And we still have work to do on that. So my reason for wanting to help Hillary at the time when I had the luxury to be able to do that, was because I really wanted to see the world change in the first woman president. But not only did I pursue that passion and use the skills that I had learned through my business and for my sales career to help her, it opened up a whole new avenue for me that became the next chapter in my life for ten years, really focused on that. So I went to the State Department, and in the State Department, it was great. I was able to travel all around the world representing the United States, help businesses overseas, do diplomatic agenda around economic and business issues. And I also launched a big program called the Global Entrepreneurship Program, which is still at the State Department, where we worked on capacity-building in countries to take our innovation agenda and bring it overseas as part of our diplomatic agenda. So that was a very fulfilling experience. I left in 2014 because it was a political appointment. It ended and then I thought, well, I think there's a very good chance she would run again. So I did a portfolio career of doing consulting. I worked at the New York Academy of Science, as you mentioned, doing business development for them, and launched this Global STEM Alliance program. I launched a great program called 1000 Girls, 1000 Futures, which was a virtual mentoring program for girls in STEM. I helped Hillary but of course, we know the end of that story and that didn't happen. And by then I was lucky enough to be recruited to Catalyst, which has been just a wonderful opportunity for me. So I joined them in 2018. I am going to be retiring from Catalyst when we find a replacement. So it's been about a five and a half years' journey at this point that's been really fulfilling for me because it really has aligned this great passion I have with all the things I've learned over my career to really make change for that organization and to really impact women in the workplace. Andi Simon: You know, as I listen to you, and I want to stay focused on your career, but for the listener or the viewer, there wasn't a straight line. This was a journey with detours and serendipity and moments and all kinds of things that you capitalized on. Were you particularly risk averse or were you particularly adventuresome? I mean, when I take my archetype, I'm an explorer or a philosopher, and I've been to 37 countries and I worked abroad many times. I, like you, don't need a structure, I need opportunity. I need an adventure. Sounds like you have had adventure through life without care about whether or not it was the end, it was onto something new. Tell the listener a little bit about how you do that? Do you do that with that particular mindset that simply says, go for it, what the heck? Or do you have to plan it out? Lorraine Hariton: Well, you know, I've evolved over time. I am very planful. And in the beginning of my career, I was focused. When I joined IBM, they had a clear path for you. You didn't have to think about it. “This is what you needed to do.” And I bought into that path. Over time, sometimes when I had my biggest bumps in my life because I've been fired, I've been put someplace else, maybe not fired, but it was a detour. Those things have happened. But, you know, out of those things, in those moments of reflection, is when I think I was able to grow the most, to really learn and reflect on my strengths and weaknesses and what motivates me and to reorient myself. These periods of transition can be real opportunities. And in my late 40s and early 50s is when I really started to understand that what I needed to do is to align my strengths and what I really love to do behind my passions, and to let the universe help me understand what those passions are. And in fact, that's what I'm doing right now, as I look to my next chapter after Catalyst. I'm trying to open up the aperture and give myself time to evolve and think and let the universe take me in the direction, but with an understanding of what I really enjoy, where I have passion, what I'm really good at, where I give, and even in this moment, I try this out, I'm not that excited. Try this out, yes, I'm really excited about it. And yes, I find that I can do the things that I really am in the zone on, that I naturally do well and then I focus on those things. So that evolution, it's not really a risk thing. I'm a pragmatist. I'm very practical, focused, like a doer, but this understanding that life can take you in different directions, but you've got to be a lifelong learner. You've got to lean into your strengths. You got to evolve those is the way I found the most meaning and purpose and fulfillment. Andi Simon: And to your point, when people say to me, how did you get to be a corporate anthropologist? I say, I made it up. And they say, you know, the imposter syndrome. I say, I've lived my whole life doing imposter stuff. I've never been fully skilled at whatever I've been. I spent 20 years in industry as an executive, in banks and in health care. I was a tenured professor, and I've been in business for 21 years now, making it up as we go along because each client's different, each opportunity is different. But the joy is the joy of creating. And I think that what you've done at Catalyst, and I want to go back to Catalyst for a moment, because I do think it's been joyful for you, but it's been a creative process. My hunch is, you've brought it along in a way that has been quite meaningful for you in the organization. Can you share with us a little bit about your own thoughts about Catalyst, about what's happened in women in the workplace? Because this is not inconsequential. When I was an executive, I went to board meetings. There were 49 men and no other women than me. We didn't say much. We sat there hoping we could finish the meeting without getting in trouble. It's a different world today. What do you see happening and how is Catalyst doing stuff? Lorraine Hariton: Well, when I came to Catalyst in 2018, Catalyst had been around almost 60 years, and it's an iconic organization. For those of you who are not familiar, we have around 500 major corporations. We have a board of directors made up of CEOs of major organizations. I mean, it's really a who's who and has a tremendous brand, but the organization itself had lost some momentum. So I was brought as a change agent. I sometimes say, it was this beautiful brownstone in Brooklyn Heights that the old lady had not been renovating as much as they should have. So I had to do a lot of infrastructure and internal changes as well as set the strategy and the plan. It's really been a transformation. And we're still transforming. The rate of change, the rate of technological change, is so great that every organization needs to move forward. And what Catalyst needed to do as an organization has changed over time. We celebrated our 60th anniversary a couple of years ago, so I really had a lot of opportunities to reflect on what Catalyst was. Catalyst started with a woman who had been a Smith College graduate who wanted to go into business, and after her children got into school, she saw the doors were closed for her because in many cases, classified as gendered. You know, you could be a secretary, but you couldn't be a salesperson. You couldn't be an executive. Very limited choice. So her objective was to provide part time work for educated women after their kids were in school. That's what she was trying to do. Today we're trying to help women thrive, from the shop floor to the C-suite, so that everyone can be successful by their own definition. Now, along the way, there's been a lot of changes in what Catalyst focused on. And of course, what happened for women in the workplace. One of the key things that changes Catalyst is a focus not only on how women can be effective and improve their capabilities and skills, but how we change the work environment. That's why we now talk about our mission of creating workplaces that work for women. So a lot of Catalyst's work is helping these companies create the environment where women can be successful. Catalyst does research and it provides a whole range of tools and capabilities to help these companies be successful, and then a lot of community and convenings to bring them together to share best practices, the need for tools and capabilities, in addition to research, has accelerated over the last ten years or so as companies really dig in to make those changes to create that environment that works for women. So we think about things like: now we call them paternity leaves, not just maternity leaves. And in many cases in the large companies, they're as much as four months and they're trying to get men to do them as well as women. That's a sea change, more flexibility. The whole pandemic accelerated this move to more flexible working, but that's something Catalyst has been talking about for a long time. Measuring change is really important and that's evolved. Our most recent report that we're going to be putting out shows that 93% of companies, large companies in the Catalyst portfolio, do pay equity studies. Now, even five years ago, they were not doing that. So that's changed. The environment has changed radically and Catalyst has evolved with it. Also the infrastructure to support the types of skills we need, the type of technology we need, has evolved with it. But you know, just to think about this, today there are over 10% women CEOs in the Fortune 500. In my early career in the 80s and the 90s, every year that they would come out with the Fortune 500, I would look and the only person who was the CEO was Katharine Graham, who took over The Washington Post when her husband committed suicide. Now she did a great job, but she was not doing it all on her own merit. What we see is the women who came into the workplace, like I did in the early 70s, early to mid-70s, all but in the 1950s, all entered the workplace in the 70s. Those are the ones who became CEOs around the turn of the 21st century, starting with Jill Barad at Mattel, Andrea Jung at Avon, Anne Mulcahy at Xerox, followed by Ursula Burns, Ginni Rometty at IBM, Indra Nooyi at PepsiCo…a diverse group of really talented, amazing women were the first group who really were able to do that. Over the last five years, we've doubled. We now have over 30% women on boards. And in the Catalyst community, we have over 30%  in senior leadership, in our membership. So what that means is there's a new norm that's a critical mass, 30% is critical mass. So we are critical mass on a lot of these measures. That is why Catalyst now is not focusing on women on boards. We're focusing on how all women can thrive from the shopfloor to the sweep and every level. So that's an evolution of who Catalyst is. I've been driving that broader definition of success as we've evolved to what really needs to be done, and also in response to companies who understand that women have 60% of the undergraduate degrees now. They're graduating more law degrees and more medical degrees. We have a much more diverse population. We're focused on diversity. And that is why there's a lot of things, a lot of political issues around DEI as a word. But the fact of the matter is, companies are very committed, so they know they have to have a diverse workforce. They've all got to work together. They've all got to feel like they belong. And in the United States and around the world, we have to be able to work together to have a really impactful, innovative workforce. So that's what we're working on. Andi Simon: I am having such fun listening to you. And I don't know if you and I have had enough time for me to hear, or my audience to hear, how the world has changed. Remember, I'm a corporate anthropologist who helps companies change. What I love to do is change, and what you are articulating is your own career evolved. Catalyst's whole mission and purpose have evolved, and the workplace that you are focused on is evolving into a whole new and much better, inclusive, exciting place for women to thrive. And isn't this exciting to watch and see? I'm not quite sure it's going to go backwards, because I think that the pressure from talented women for new ways of doing things is going to transform the workplace. You know, how do you have a blended life, if not a balanced life. I met one person who was building childcare at the office because he knew that was the only way he was going to keep his workforce. What's so hard? Why are we not paying attention to our children? You know, bring them to work and make them part of the whole culture that we have here. And I don't think the pandemic has been all that bad. My clients that I coached during that time, we're actually having a wonderful experience of being home and working and doing it with a different use of time and space. But it's a really interesting opportunity for you to see that and now to think through what's next, a radical next. Because I have a hunch you'd love to radically change the next phase in some fashion. It's technology, it's transformation, it's new openness to it. What do you see coming next? Lorraine Hariton: Well, you mentioned technology and I mentioned I am a technologist by training. Technology drives change now. The changes that allowed women to become part of the workforce were driven by the birth control field, the vacuum cleaner, electrification, the reduction of the need for women to stay home and do all these tasks. The knowledge worker being the key person in the workplace. And that's only accelerating. So we should understand we are the result of the worlds we live in. My mother was a result of that. RBG was a result of that. My daughter is going to be a result of the environment that she's a part of, as well as my grandchildren. So technology is the biggest driver of those changes. We are going to be living in a world where I hope we have more flexibility to integrate career and family, and to really be able to have women really have equal ability to make their own decisions on how they want to balance their life. I mean, that's what we're trying to do so that every woman thrives by their own definition of success. So that's what we're working towards. Andi Simon: You know, I'm sitting and listening and I'm hopeful. I have a woman I know who's president of a large insurance company. And we were sitting and talking not too long ago. She said, Well, let me tell you, I was a coat girl. She said, I'd walk into Lloyd's of London with a deal, and they'd hand me their coats as the men walked in, one after another, they thought I was a coat girl. And finally after they all had sat down, and I turned around and sat at the head of the table and saidy, Now let me tell you about the deal I brought you. And the guys all went, Oh! And she said, Do you think that will ever stop? And I said, Yes. I'm not sure when but I guess you could have stopped it if you wanted to at that moment. But somehow the woman has to be able to comfortably say, I'm sorry, but the coat rack is over there, or No, I'm not taking notes today. Who shall we have as our note-taker today? How do we assert ourselves in a way that establishes a more balanced role? Now you're smiling at me. You're thinking about something. What are you thinking of?  Lorraine Hariton: I think there's a two way street here. Catalyst has done a lot of work on this. Not only do the women need to do that, but the men need to become advocates and allies for women in the workplace. In fact, Catalyst has a whole initiative called MARC: Men Advocating Real Change. We're helping the men understand how they can be part of that change because I think the clearest example is, they say that women don't negotiate for salary increases as well as men. There's a big pay gap, and it's a result of this. It's not just the women not negotiating. It's the culture that doesn't enable them to negotiate. So a woman in general is much better off with someone else asking. Because it's like this poster that I have in the back here from an unconscious bias campaign we did which says: She's not aggressive, she's assertive. Well, if a man goes and asks for a raise, he's assertive and he should get a raise. A woman goes in, she's aggressive, you know. So, we've got to do both of those things. Andi Simon: I often preach that the words we use create the worlds we live in. And you just made an important point there, because the word that you use takes the same behavior and makes it good or bad. And it is very interesting because the definers of those meanings…humans are meaning makers. And if the guys are the definers of the meaning, one thing happens. But somehow we've got to get a balance in how we think about the behavior as being. Is it assertive or is it aggressive? Well, it's the same behavior. Who's defining it? And how do we then create a mirror back so the women know that that's the right behavior and the guys understand that that's not acceptable from them. I work with some companies where I watch the guys' backlash and I say, Why don't we collaborate on the transformation instead of becoming adversarial or resisters to it? Change is humanly painful. The brain hates it. So let's create a new story because we're story-makers. And if I can create a new story, then we can live that new story. But if we're going to fight the story out, it's going to be quite interesting. I know too many women who have left corporate because they were tired of the story that put them in the wrong role, and they went out to launch their own business or find some other place. And so it's an interesting time for women to see what can be done and for men to help create a new environment. Are there some illustrative cases that you can share, or are they all proprietary and it's not possible to share them? Any kind of story that might illustrate how it's actually happening? Lorraine Hariton: Well, I will say there are many, many stories of success. If you go to the Catalyst website, we have tons of success stories, the stories of companies that transformed themselves. We have The Catalyst Award that we give out every year at our big annual conference in Denver. People nominate themselves. They go through an application process. It was very rigorous last year. The Hartford is one of the winners of it. They have transformed the company at every level with all the things we're talking about, measurements. They were able to get affecting bias sponsorship programs, really changing the fundamental culture of the organization. You can listen to what they do, but there's hundreds of examples of companies that have done great jobs around it. And of course, we have lots of examples. I mentioned some of the trailblazers, the Fortune 500, you read interviews, and books. And so there are many, many examples of successes, people who've affected the odds. People, companies who've done a great job of changing the culture. It's all over the place. So rather than name a specific one, I think that's good. Andi Simon: And if people are looking for companies to work for, they probably can find illustrations at Catalyst and your website to begin to go through. And that is a real resource to be available. You know, this has been such fun. I think that we're probably ready to share with our listeners or our viewers 1 or 2 things you want them to remember and then how to reach you if they'd like more information about you or about Catalyst. What do you think?  Lorraine Hariton: That sounds great. I think the overriding thing to say is that life is a journey. And that journey is to understand what your passions are, what gets you excited, what gets you up every day enjoying it, and then what do you really enjoy? In terms of your skills, what do you have the most to contribute to this world? And if you can align those, that's what I try to do. The other thing is to realize that there are lots of chapters in life, and you would need to make sure that you have the resiliency and the learning mindset to go from one chapter to the next and open the aperture around it. I'm happy to talk to anyone on this call. You can go to the Catalyst website at catalyst.org if you want to learn more about the work that we're doing. You can get ahold of me that way as well. I'm going to be going on to my next chapter as well. So I'm opening the aperture up. Andi Simon: Well, I can't wait to hear about your next chapter. I have a hunch it's going to be full of adventure and joy and beauty. And you leave behind you better places and with great purpose. Move forward. So it's been a pleasure. Thank you for joining us today. Lorraine Hariton: Thank you. Thank you for the opportunity. I really enjoyed it. Andi Simon: I just think it's a special moment to be able to go both into your life and all the work that you're doing in the wonderful way it's making a difference for my listeners and my viewers. Thank you for always coming. Remember, our job is to help you see, feel and think of new ways. And I think that a visit to Catalyst might help you see organizations that are already doing this and want to keep it going, and you can as well. My books Rethink: Smashing The Myths of Women in Business and On the Brink: A Fresh Lens to Take Your Business to New Heights, and our new book, Women Mean Business: Over 500 Insights from Extraordinary Leaders to Spark Your Success with Edie Fraser and Robyn Freedman Spizman are all available at Amazon and Barnes & Noble for you. It gives you a perspective both of how anthropology sees the world and helps you change, and what we see happening, particularly for women. 102 women in Women Mean Business are all here to help you change your life. We often say turn a page and change your life. Lorraine's chapter is wonderful. I love her little thing. Here she talks about how she navigated with her dyslexia and her principal is major. Your major is to nurture your unique gifts. And that's what we heard about today. Thanks again. Thanks, Lorraine. It's been a pleasure. Bye bye.   WOMEN MEAN BUSINESS® is a registered trademark of the National Association of Women Business Owners® (NAWBO)

Welcome to the Instant Trivia podcast episode 1031, where we ask the best trivia on the Internet. Round 1. Category: Let'S Visit Cuba 1: Disco Ayala in the city of Trinidad is located inside one of these, so you're always in the batroom. Cave. 2: Take note, hotels in Cuba rent by the night, most inns and posadas by this, hmmmmmm. By the hour. 3: Visit this site that Teddy did in 1898 and see small monuments marking the battle and a rusted ferris wheel. San Juan Hill. 4: The Cuban home of this "Snows of Kilimanjaro" author is preserved almost as he left it. Ernest Hemingway. 5: Diving and snorkeling are popular (between U.S. invasions) at Playa Giron on this bay. Bay of Pigs. Round 2. Category: Weird Al-Chemy 1: "Like A Surgeon". Madonna. 2: "Eat It". Michael Jackson. 3: "Canadian Idiot". Green Day. 4: "I Love Rocky Road". Joan Jett. 5: "I Want A New Duck". Huey Lewis (and The News). Round 3. Category: State Of The Book 1: "The Last Picture Show". Texas. 2: "Washington Square". New York. 3: "Centennial" by James Michener. Colorado. 4: "The Grapes of Wrath"--2 states please, where the story begins and ends. Oklahoma and California. 5: "The Help". Mississippi. Round 4. Category: Women In Power 1: The Falkland Islands war tested the mettle of this "Iron Lady". Margaret Thatcher. 2: This tough-talking Miamian is the nation's No. 1 cop. Janet Reno. 3: The pineapple of Bob's eye, she returned to Red Cross leadership in 1997. Liddy Dole. 4: She was publisher of The Washington Post during Watergate. Katharine Graham. 5: This NFL team owner moved her team from California to Missouri. Georgia Rosenbloom (Frontiere). Round 5. Category: Women In Literature 1: In "Pride and Prejudice", Mr. Bennet and this daughter discuss her possible engagement to Mr. Darcy. Elizabeth. 2: Charlotte Bronte wrote "Shirley" as well as this more famous novel with the heroine's name as the title. Jane Eyre. 3: Mrs. Whatsit, Mrs. Who and Mrs. Which help Meg Murry and her brother in this 1962 novel by Madeleine L'Engle. A Wrinkle in Time. 4: This William Makepeace Thackeray novel deals with the interwoven fortunes of 2 women: the passive Amelia and the scheming Becky. Vanity Fair. 5: Rosalind from this comedy has the most lines of any of Shakespeare's women. As You Like It. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

¿Cuánto vale una noche de hospitalización? ¿Y una consulta del médico de cabecera? ¿Y tratarse un cáncer? Esta noche hemos recordado que la sanidad pública no es gratis, que cada uno de los servicios que nos prestan vale mucho dinero. Para ello hemos invitado a Marciano Sánchez Bayle, de la Federación de Asociaciones para la Defensa de la Sanidad Pública, que nos ha detallado el precio de cada intervención y cada consulta. También hemos charlado con Eva Cosculluela de Katharine Graham, la directora del Washington Post en la época dorada del periódico, en la misma en la que las mujeres no accedían a puestos de responsabilidad. 

In this episode connecting Dominick Dunne into this Third Act, it is the story of Katharine Graham, the Publishing Swan of Truman Capote and America's first female CEO of a Fortune 500 company, to David Begelman, the movie studio head and Hollywood hotshot, whose criminal embezzlement provide Dominick Dunne a BIG clue on the way to his third act. All sources can be found at doneanddunne.com. Continue your investigation with ad-free and bonus episodes on Patreon! To advertise on Done & Dunne, please reach out to sales@advertisecast.com or visit https://www.advertisecast.com/DoneDunne. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week on The Learning Curve, cohosts Cara Candal and Gerard Robinson spoke with Donald Graham, Chairman of Graham Holdings Company, previously The Washington Post Company. Mr.Graham discussed his family's ownership of The Washington Post, their efforts to bring the paper to prominence and financial stability. He talked about his mother, Katharine Graham's, history-changing achievements, including the Post's coverage of the Watergate scandal. Graham reflects upon how his military and police career informed his work as a journalist, his views on social media, and his work in higher education reform and philanthropy on behalf of immigrant youth.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5817368/advertisement

Katharine Graham was the subject of one of the best-known threats in American journalistic history, but that didn't stop her. Learn how to face adult bullying. #ThePitch #INICIVOX 

On this episode of The Journalism Salute, we're joined by Tiffany Tan, a reporter for the non-profit VTDigger who covers southwest Vermont. Tiffany's career has taken her around the globe, in the Philippines as a TV producer, in Singapore and China as a writer and editor. She's worked in the United States in both South Dakota and Vermont.Tiffany talked about her reporting experiences both abroad and in the United States. She explained the mission of VTDigger and why doing this kind of work was important to her. She also walked us through the process of covering stories, including a local sheriff who moved to Tennessee(!) and a criminal case that lasted more than 30 years.Tiffany's salutes: Katharine Graham and Maria Ressa.Thank you as always for listening. Please send us feedback at journalismsalute@gmail.com, visit our website at thejournalismsalute.org and Mark's website (MarkSimonmedia.com) or tweet us at @journalismpod.

*Katharine Graham had an image as a cultured society hostess who held court from a grand Washington residence, and as the friend of US presidents and their wives. *But this image omits the less fabulous details of her life and the decades of hard work to make The Washington Post into the institution it became. *Personal History is partly the story of the building of that enterprise, but it's also a leadership book. *Graham never intended or wanted to lead, but she became one of the most powerful media figures in America, with an inside view into some of the biggest events in 20th-century history, from John F Kennedy's death to Watergate. *Her story tells us that not only are there no born leaders, but all of us can be transformed by situations thrust upon us. Theme 1: Marriage: to a man, to a company - 0:29 Theme 2: Entering the corporate arena - 11:26 Theme 3: Production Hell - 22:15 Like what you hear? Be sure to like & subscribe to support this podcast! Also leave a comment and let us know your thoughts on the episode. You can also get a free weekly email about the Book Insight of the week. Subscribe at memod.com/insights Want quick save-able, share-able bullet points on this book? Check out the Memo: https://memod.com/TomBBBusiness/what-lessons-can-be-taken-from-katharine-graham-s--309/part-1 Full Title: Personal History Year of Publication: 1996 Book Author: Katherine Graham To purchase the complete edition of this book click here: https://tinyurl.com/5t3bhnyh Book Insight Writer: Tom Butler-Bowden Editor: Tom Butler-Bowden Producer: Gabe Mara Production Manager: Karin Richey Curator: Tom Butler-Bowden Narrator: Kristi Burns

We talk about the January 6th Committee's work with Luke Broadwater, who covers Congress for the New York Times. He was in the Capitol the day of the assault, and has reported on the Committee's work from the beginning.John Powers reviews Noah Baumbach's film adaptation of Don DeLillo's White Noise.The list of authors Robert Gottlieb has edited include Joseph Heller, Toni Morrison, John Le Carré, Katharine Graham, Bill Clinton, Nora Ephron and Michael Crichton. The documentary Turn Every Page, by his daughter Lizzie Gottlieb, examines his decades-long editing relationship with Power Broker author Robert Caro.

We talk about the January 6th Committee's work with Luke Broadwater, who covers Congress for the New York Times. He was in the Capitol the day of the assault, and has reported on the Committee's work from the beginning.John Powers reviews Noah Baumbach's film adaptation of Don DeLillo's White Noise.The list of authors Robert Gottlieb has edited include Joseph Heller, Toni Morrison, John Le Carré, Katharine Graham, Bill Clinton, Nora Ephron and Michael Crichton. The documentary Turn Every Page, by his daughter Lizzie Gottlieb, examines his decades-long editing relationship with Power Broker author Robert Caro.

Robert Gottlieb has been working in publishing since 1955. The list of authors he's edited include Joseph Heller, Toni Morrison, John Le Carré, Katharine Graham, Bill Clinton, Nora Ephron and Michael Crichton. The documentary Turn Every Page, by his daughter Lizzie Gottlieb, examines his decades-long editing relationship with Power Broker author Robert Caro. Terry Gross spoke with both Lizzie and Robert Gottlieb. Also, John Powers reviews the British drama Living, adapted by Kazuo Ishiguro from Akira Kurosawa's classic 1952 film Ikiru.

Robert Gottlieb has been working in publishing since 1955. The list of authors he's edited include Joseph Heller, Toni Morrison, John Le Carré, Katharine Graham, Bill Clinton, Nora Ephron and Michael Crichton. The documentary Turn Every Page, by his daughter Lizzie Gottlieb, examines his decades-long editing relationship with Power Broker author Robert Caro. Terry Gross spoke with both Lizzie and Robert Gottlieb. Also, John Powers reviews the British drama Living, adapted by Kazuo Ishiguro from Akira Kurosawa's classic 1952 film Ikiru.

Graham & Walker were two unstoppable leaders that made history, and with us, exponentially more will do the same. In 1963, Katharine Graham was the first female CEO of a Fortune 500 company. And sixty years before, Madam C.J. Walker went from founder to the first-ever self-made female millionaire. Like our inspirations taught us: underrepresented doesn't mean unworthy. It just means underestimated. Learn more here --> https://grahamwalker.com/ ★ Support this podcast ★

So honored that five-time Emmy Nominated actress Sharon Lawrence answered my call. With a career that spans TV, Movies & Theatre, Sharon Lawrence has been entertaining audiences for over 30 years! I have been a fan of Sharon's since 1997 when she starred in her own NBC comedy series Fired Up (co-starring Leah Remini). On Broadway, Sharon has been seen in the revivals of Cabaret, Fiddler on the Roof & Chicago. Her TV/Film credits include NYPD Blue, Queen Sugar, Shameless, Dynasty, Rizzoli & Isles, Drop Dead Diva, One Tree Hill, Grey's Anatomy, The Christmas House & The Christmas House 2: Deck Those Halls. Sharon just finished filming Season 2 of Spectrum's Joe Pickett. Next week, Sharon returns to NYC to star in Robin Gerber's new play The Shot at the 2022 United Solo Festival. In this interview Sharon pulls back the curtain to reveal: How she got involved in Robin Gerber's The Shot How she prepares for such a demanding role How she decompresses after a show The boundaries she puts up when working How The Shot can help those affected by domestic violence The Shot is a work of fiction drawn from the story of former Washington Post publisher Katharine Graham. Before becoming publisher, Katharine was an abused wife, derided in public & beaten in private by her husband, who had inherited The Washington Post newspaper from Katharine's father. The Shot will play at Theatre Row in NYC for 3 performances only: 10/27, 10/28 & 11/2. Click here for tickets! Connect with Sharon: Twitter Instagram Like What You Hear? Follow me @callmeadamnyc on Facebook, Twitter and Instagram Visit https://callmeadam.com for more interviews Special Thanks: Theme Song by Bobby Cronin (https://bit.ly/2MaADvQ) Podcast Logo by Liam O'Donnell (https://bit.ly/2YNI9CY) Edited by Adam Rothenberg Outro Music Underscore by CueTique (Website: https://bit.ly/31luGmT, Facebook: @CueTique) P.S. This interview was originally presented as a video interview, which you can watch here Learn more about your ad choices. Visit megaphone.fm/adchoices

Before Jon Stewart, Stephen Colbert, Trevor Noah, and Doonesbury, there was Art Buchwald. For more than fifty years, from 1949 to 2006, Art Buchwald's Pulitzer Prize–winning column of political satire and biting wit made him one of the most widely read American humorists and a popular player in the Washington world of Ethel and Ted Kennedy, Ben Bradlee, and Katharine Graham.

In this episode of C-SPAN's podcast "The Weekly," we remember Katharine Graham by learning from her -- Specifically, her leadership secrets. The personal skills that brought the legendary Washington Post executive great media and corporate success -- and the enormous respect she still has today. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of C-SPAN's podcast "The Weekly," we remember Katharine Graham by learning from her -- Specifically, her leadership secrets. The personal skills that brought the legendary Washington Post executive great media and corporate success -- and the enormous respect she still has today. Learn more about your ad choices. Visit megaphone.fm/adchoices

Before we got all our information from the internet, magazines were the primary way of learning about specialty topics like computing. Randal Kottwitz was part of two major early pillars in this field, SoftSide magazine, as it transitioned from being a pamphlet with Basic programs to a full blown magazine with attached floppy disks and tapes and MacUser magazine, the go-to source for information about Apple's revolutionary 16 bit computer the Macintosh. We talk about publishing, visions for the future of a digital life in the 80s and so, so much more! Recorded September 2021. Get us on your mobile device: Android: https://www.google.com/podcasts?feed=aHR0cHM6Ly92aWRlb2dhbWVuZXdzcm9vbXRpbWVtYWNoaW5lLmxpYnN5bi5jb20vcnNz iOS: https://podcasts.apple.com/de/podcast/video-game-newsroom-time-machine And if you like what we are doing here at the podcast, don't forget to like us on your podcasting app of choice, YouTube, and/or support us on patreon! https://www.patreon.com/VGNRTM Send comments on twitter @videogamenewsr2 Or Instagram https://www.instagram.com/vgnrtm Or videogamenewsroomtimemachine@gmail.com Links: https://www.linkedin.com/in/randalkottwitz/ https://www.youtube.com/user/krandy254 https://en.wikipedia.org/wiki/SoftSide https://archive.org/details/softside-magazine https://en.wikipedia.org/wiki/Scott_Adams_(game_designer) https://en.wikipedia.org/wiki/Mark_Pelczarski https://www.vocabulary.com/dictionary/typesetter https://books.google.de/books/about/The_Power_User_s_Manual.html?id=5BlFAAAAYAAJ&redir_esc=y https://en.wikipedia.org/wiki/Xerox_Star https://en.wikipedia.org/wiki/Apple_Lisa https://en.wikipedia.org/wiki/History_of_the_floppy_disk#The_%22Twiggy%22_disk https://allaboutstevejobs.com/videos/keynotes/macintosh_introduction_bcs_1984 https://en.wikipedia.org/wiki/Felix_Dennis https://www.youtube.com/watch?v=Mm57XBtPMOo https://en.wikipedia.org/wiki/Katharine_Graham https://en.wikipedia.org/wiki/Macworld https://en.wikipedia.org/wiki/MacUser https://en.wikipedia.org/wiki/Ziff_Davis https://www.facebook.com/macwarehouseutah/  

Join Caroline Wilson and Corrie Perkin for Ep 223.This podcast is proudly presented by Red Energy - most satisfied customers 12 years in a row.This week on the show we discuss;Watergate 50th anniversary - June 17, 1972: 50 years since 5 men broke into the Democratic election headquarters in the Watergate Building in Washington and were caught by police.FILMAll The President's Men (1976)The Final Days (1989)Nixon (1995)Frost/Nixon 2008Mark Felt: The Man Who Brought Down the White House (2017)The Post (2018)BOOKSAll the President's Men by Bob Woodward and Carl Bernstein 1974The Final Days by Bob Woodward and Carl Bernstein (1976)Blind Ambition by John Dean (1976)Watergate: The Corruption of American Politics and the Fall of Richard Nixon by Fred Emery (1995)Personal History by Katharine Graham (1997)'Frost/Nixon: Behind The Scenes of the Nixon Interviews by David Frost (2007)Richard Nixon: The Life by John A Farrell (2017)THE COCKTAIL CABINET for Prince Wine Store: Myles highlights a couple of favourites from the June Mixed Dozen 2022 - Winter Warmers box including· Quinta Milu Milu Tempranillo 2019· Kumeu River Village Chardonnay 2021· Marchesi Alfieri La Tota Barbera d'Asti 2019 (Screwcap)This week Caro is ‘Grumpy' about the ‘dinosaur' blokes in AFL Media who are down playing the optics of the Jordan DeGoey footage.BSF:The Palace Papers: Inside the House of Windsor – The Truth and the Turmoil by Tina BrownOperation MincemeatDaisy's Perfect Pass-Around Dish (see recipe below)In 6 Quick Questions for Red Energy we touch on Julian Assange, new pre-prep year of play-based learning for all four year-olds, the over saturation of worthy causes in AFL, Logies fashion, winter comfort food and of course an amazing fact.To receive our weekly email which includes recipes SIGN UP HERE.For videos and pics make sure you follow us on Instagram, Facebook or TwitterEmail the show via feedback@dontshootpod.com.au.Don't Shoot the Messenger is produced by Corrie Perkin, Caroline Wilson and produced, engineered and edited by Jane Nield for Sports Entertainment Network.Daisy's Perfect Pass-around dishToasted Bruschetta, buttered.Thinly sliced radish (use a Mandolin), topped with an anchovy and a strip of roasted red capsicum.

Publisher Katharine Graham, one of the most influential figures of the 20th century, championed excellence in journalism. Under her leadership, the Washington Post evolved into one of the nation's most respected news sources and forever changed American history with its groundbreaking investigative reporting into the Watergate scandal. In conversation with David M. Rubenstein, Graham's children Donald E. Graham and Lally Graham Weymouth discuss their mother's life and legacy. Recorded on January 7, 2021

In today's Love Letters to... we celebrate Katharine Graham, the publisher of the Washington Post, and the first female CEO of a Fortune 500 company. Advertise with us! Learn more about your ad choices. Visit megaphone.fm/adchoices

Wychowywano ją na ozdobę salonów. Ojciec udziały w rodzinnej firmie wręczył jej mężowi - nie godzi się przecież, żeby mężczyzna pracował dla żony. Przez ponad dwie dekady była w cieniu swojego charyzmatycznego, ale i toksycznego małżonka: wiecznie krytykowana, uciszana, wyśmiewana, coraz bardziej znikała. Dopiero po czterdziestce i tragedii przejęła stery - własnego życia i biznesu. I, mimo paraliżującego braku pewności siebie, okazała się w tym dobra. Była pierwszą kobietą na kierowniczym stanowisku w grupie medialnej, a jej gazeta z drugorzędnego stołecznego dziennika stała się konkurencją dla “New York Timesa”. A po drodze doprowadziła do ustąpienia prezydenta i pomogła zakończyć wojnę. W dzisiejszym odcinku naszego podcastu Herstorie Wysokich Obcasów Katarzyna Wężyk i Natalia Waloch opowiadają o legendarnej wydawczyni “Washington Post”, Katharine Graham.

Salam El Zataari is an incredibly learned man filled with passion and zeal towards what he believes to be ethical and truth and you can clearly see that throughout the course of this episode. In this episodes the shared with us he thoughts on Lebanese politics and its future. He also shared with us his deep love for reading and the value he attributes to education. Salam Zataari, is not only talented, but also a visionary. He has his unique outlook on the world, and he does all he can to share it with the world in the most research based and evidential manner. Get to know Salam El Zataari on this wonderful episode of From LA to Beirut with Rita Saikali and Jihad Saikali. Don't forget to subscribe to our platforms! You can listen to this show live on Radio MT Lebanon: https://rmlfm.com/ You can also listen to our show record on you favorite podcast platform https://anchor.fm/fromlatobeirut/episodes/Christina-Sawaya-on-From-LA-to-Beirut-with-Rita-Saikali--Jihad-Saikali-e17gdpq Episode Breakdown: 00:00 How do you perceive yourself? 28:11 Questions 35:13 Book of the week Book of the week: Ego is the enemy by Ryan Holiday - Summary from Amazon The instant Wall Street Journal, USA Today, and international bestseller “While the history books are filled with tales of obsessive visionary geniuses who remade the world in their image with sheer, almost irrational force, I've found that history is also made by individuals who fought their egos at every turn, who eschewed the spotlight, and who put their higher goals above their desire for recognition.” —from the prologue Many of us insist the main impediment to a full, successful life is the outside world. In fact, the most common enemy lies within: our ego. Early in our careers, it impedes learning and the cultivation of talent. With success, it can blind us to our faults and sow future problems. In failure, it magnifies each blow and makes recovery more difficult. At every stage, ego holds us back. Ego Is the Enemy draws on a vast array of stories and examples, from literature to philosophy to his­tory. We meet fascinating figures such as George Marshall, Jackie Robinson, Katharine Graham, Bill Belichick, and Eleanor Roosevelt, who all reached the highest levels of power and success by con­quering their own egos. Their strategies and tactics can be ours as well. In an era that glorifies social media, reality TV, and other forms of shameless self-promotion, the battle against ego must be fought on many fronts. Armed with the lessons in this book, as Holiday writes, “you will be less invested in the story you tell about your own specialness, and as a result, you will be liberated to accomplish the world-changing work you've set out to achieve.” https://www.amazon.com/Ego-Enemy-Ryan-Holiday/dp/1591847818

Katharine Graham's life story is more interesting than Steven Spielberg's hard-on for Vietnam in this swiftly assembled prestige drama about the Pentagon Papers. Tara and Jacob discuss thankless lady roles, the Gummer Extended Universe, and Tom Hanks' typewriter collection. Also, is it BFG or RBG? Box Office Bylines is a podcast about movies about journalism. Are you somebody important or just a general assignment reporter? Email us at boxofficebylines@gmail.com Follow us on the old bird box (AKA Twitter): @BoxBylines (don't ask) @rwjboon @thorneyhfx Theme Music: Dance Movie (dancemovie.bandcamp.com) If you're a fan of this podcast please consider leaving us a five-star review on your favourite podcast platform so we don't wind up as old men on IMDB's message boards.

We hear Ego is not good but do you know what it means to have an Ego?This month, we dive deep into what the Author Ryan Holiday considers our biggest enemy: our Ego!Link to Amazon: Buy Ego is the enemyIf you have a question or comment or would like to be featured in an episode, email us at urdupun@gmail.comTo leave a voice message, click herePlease take a moment to rate us (for Apple users): Click hereTimestamps of our discussion00:40 Sumbul talks about the book01:00 Sumbul explains why she chose this book Ego is the Enemy02:00 Author Ryan Holiday's background03:30 Sumbul introduces the book05:50 To be or to do 07:32 Sumbul explains how we become victims of ego08:50 Why you should not be passionate11:50 Become a student13:00 How achieving means your work has just started15:50 What makes networking important16:56 Sumbul recaps Adam Grant's book Give and Take22:10 How ego feds paranoia23:20 Euthymia25:50 Ego changes with your status26:30 Attitude of people in Pakistan in authority29:30 Sumbul shares her experience of people with ego30:44 How Angela Markel has an ego defying personality33:17 Ego's role in our failure36:50 Sumbul gives an example of control over Ego37:40 Story of Katharine Graham from Washington Post 40:40 How Malcolm X used jail time as alive time42:45 How our Prophet wanted us to learn 43:50 You need to maintain your own scorecard44:00 You have to compete with yourself46:35 How you should choose love over hate47:10 Choosing love as an immigrant49:00 Sumbul's difference in opinion52:55 Sumbul's rating and final thoughts54:06 My rating and final thoughtsIf you have a question or comment or would like to be featured in an episode, please email usTo leave a voice message, click herePlease take a moment to rate us (for Apple users): Click here