Podcasts about Krinsky

This week we explore the intricacies of launching a small business, the power of quality ingredients, and the importance of having a clear purpose with Vikki Krinsky, Chef and Founder of VK Energy Bar. A young actress turned private chef for Hollywood celebrities, Vikki was driven by keeping her client's energy high and nutrition balanced on grueling days on set. The idea for VK Energy Bars was born when Vikki was tasked to rescue Seth MacFarlane from his caffeine obsession during the filming of his TV show.   Today as a chef and entrepreneur, Vikki is focused on changing the way we think about energy and nutrition. Harnessing the power of energy dynamo Vitamin B12, VK Energy Bars are delicious and thoughtfully made for busy people and long days. Vikki shares invaluable insights from her entrepreneurial journey, from overcoming manufacturing hurdles to staying focused on her mission to elevate everyone's day with good energy. Her story is a testament to the power of perseverance and intention.   Key highlights of what we cover: How bootstrapping, passion and self-discovery shaped Vikki's business journey How taking bets on yourself is the best gamble of all Why focus + perseverance is the secret formula every business owner needs   About our Guest: Vikki Krinsky's journey from the competitive soccer fields to the vibrant world of Hollywood reflects a story of resilience and determination. Originating from South Africa and later settling in Canada, she transitioned from the unpredictability of acting to mastering the culinary arts, earning respect among Hollywood's elite. Throughout her career, she has served renowned celebrities, athletes, and executives, accumulating a wealth of experience and expertise. Motivated by a desire to extend her impact beyond Hollywood, Vikki ventured into entrepreneurship, founding a pioneering Vitamin B12 energy bar company. As a determined solo female founder, she is dedicated to promoting wellness, body positivity, and nutritional balance, sparking conversations that inspire positive change.   You can connect with Vikki on your favorite social platforms @ChefVikkiK or @VKenergybar    Try out VK Energy Bar at www.vkenergybar.com   If you're a brand looking for market differentiation but don't know where to begin, this is what the host specializes in. Contact Jacqueline Lieberman at her marketing consultancy www.brandcrudo.com or jacqueline@brandcrudo.com.See omnystudio.com/listener for privacy information.

In this episode, Dietitian Boss and CEO Libby Rothschild talks with successful entrepreneur and registered dietitian nutritionist, Beryl Krinsky. Beryl shares her journey from launching her own corporate wellness firm, BKomplete, to establishing an internship program, KBDI, to train future dietitians. Beryl's passion for education, wellness, and business is evident as she discusses the importance of understanding consumer needs, the value of learning business skills, and the advantages of networking for career success. In a fascinating discussion, Beryl emphasizes the necessity for alternative revenue streams for dietitians to achieve financial freedom and hints at future directions for the dietetics profession. Interwoven throughout her narrative, Beryl provides practical advice for dietitians looking to branch out and create their own opportunities. An enlightening conversation for both new and seasoned dietitians. BIO: Beryl Krinsky is a successful Entrepreneur, who is a Registered Dietitian Nutritionist with a Master of Science in Food Science and a Master of Business Administration in Food Marketing. Beryl had over 10 years of corporate experience prior to launching her first business, B.Komplete. B.Komplete is a Corporate Wellness Firm that offers holistic well-being services for corporations. Beryl proudly employs a team of Registered Dietitian Nutritionists, Yoga and Pilates Instructors, Massage Therapists, Personal Trainers, Registered Nurses, and Licensed Acupuncturists, who represent the B.Komplete brand and bring our services to life. With her passion for education and wellness, Beryl launched a second business, The Komplete Business Dietetic Internship (KBDI). This program trains our future Registered Dietitian Nutritionists to help a greater number of populations.Beryl volunteers for ACEND as a Dietetic Program Reviewer and sits on several advisory Boards for Dietetic Programs. Beryl is passionate about living a balanced lifestyle and loves animals, exercise, cooking, meditation, spending time outdoors, and always learning. What you'll learn from this episode: The importance of understanding consumer needs in the field of dietetics The value of learning business skills for dietitians The advantages of networking for career success in the dietetics profession The necessity for dietitians to explore alternative revenue streams for financial freedom Practical advice for dietitians looking to branch out and create their own opportunitiesInsights into the future directions of the dietetics profession Connect with Beryl: Instagram: @bkomplete and @kbdinternship Connect with Libby: Instagram: @libbyrothschild | @dietitianboss YouTube: Dietitian Boss Checkout Practice Better here:https://practicebetter.grsm.io/dietitianbosspodcast Use code: DIETITIANBOSS20 to get started on Practice Better with 20% off any paid plan (eligible to those joining a paid Practice Better plan for the first time). Are you ready to get support? Team Dietitian Boss offers support to help you start, grow and scale your private practice. Book a call to learn more about what options we offer to help you based on your stage of business. Join our membership The Library HERE Want to learn how to create passive income? Download our free 5 steps guide here. Download our free guide Freebie 1st hire. Download our free guide Start your private practice. Download our free guide Quit your clinical job. Want to hear client success stories? Review here.

Model Lucy Krinsky joins host Nikki Gal for a conversation on the power of kindness, following dreams, becoming discovered through Instagram, self-esteem, social media, staying true to yourself, the topic of eating disorders, and much more. Connect with Lucy: Lucy's Instagram: https://www.instagram.com/lucyyoojin?igsh=MWZ6MHJ4NXViM2dyYw== Connect with host Nikki Gal: https://www.nikkigal.com

Jonathan Krinsky, who holds the Chartered Market Technician (CMT) designation,  is a Managing Director and Chief Market Technician at BTIG. Before joining BTIG, Mr. Krinsky was the Chief Market Technician at Bay Crest Partners, MKM Partners and Miller Tabak & Company. Earlier in his career, he held a role within the Equity and Derivatives Sales & Trading Group at Miller Tabak & Company.Jonathan provides clients with actionable technical commentary on U.S. and global equities, commodities, interest rates and currencies. Jonathan looks at the market on a global basis, taking into account inter-market relationships, sentiment and seasonality, in addition to traditional technical indicators based on price. Jonathan is a regular contributor on Financial Sense, Bloomberg, CNBC, Seeking Alpha, and MarketWatch. He graduated from Penn State University. Fill the Gap, hosted by David Lundgren, CMT, CFA and Tyler Wood, CMT brings veteran market analysts and money managers onto a monthly podcast. For complete show notes of every episode, visit: https://cmtassociation.org/development/podcasts/ Give us a shout:@dlundgren3333 or https://www.linkedin.com/in/david-lundgren-cmt-cfa-63b73b/@_TBone_Pickens or https://www.linkedin.com/in/tyler-wood-cmt-b8b0902/@CMTAssociation orhttps://www.linkedin.com/company/cmtassociationCMT Association is the global credentialing authority committed to advancing the discipline of technical analysis in the financial services industry. We serve members in over 137 countries. Our mission is to elevate investors mastery and skill in mitigating market risk and maximizing return in capital markets through a rigorous credentialing process, professional ethics, and continuous education. CMT Association formed in the late 1960s with headquarters in lower Manhattan, NY and Mumbai, India.Learn more at: www.cmtassociation.org

Today our discussion comes from our most recent annual conference: Why is Housing so Unaffordable? Causes and Solutions. We were lucky enough to have John Krinsky join us today. Dr. Krinsky is a professor of Political Science at the City University of New York (CUNY). Thus far, we've looked at a lot of trends and changes within the housing industry. We've heard a lot about programs and solutions, but, so far, have heard very little about the people inhabiting these homes. Today, we want to talk about the conditions facing the people these solutions are trying to help. Dr. Krinsky earned his Ph.D. from Columbia University and focuses on public policy, urban politics, and modern protest and activist movements. He is the author of "Who Cleans the Park" and "Free Labor." Both offer examinations of labor and job policies from state and local levels. Dr. Krinsky is also the co-editor of two journals: Metro-politics and Social Movement Studies. In addition to his work in academia, he is also the founder of New York City Community Land Initiative, a grassroots collective of non-profits and NGOs that promote community land trusts and housing for all. Together, we discussed some of the failures of market-based approaches, evaluating policy responses to poverty & inequality, and the differences in exchange- or monetary-value versus use-value. To check out more of our content, including our research and policy tools, visit our website: https://www.hgsss.org --- Support this podcast: https://podcasters.spotify.com/pod/show/smart-talk-hgsss/support

On this week's episode, Writer/Showrunner Bill Martin (The Unicorn, The Neighborhood, 3rd Rock From The Sun, and many many more) talks about his showbiz career and starting out writing in sketch comedy then eventually transitioning over to scripted. Tune in as he also talks about his experiences working with a writing partner.SHOW NOTESBill Martin's IMDB Page - https://www.imdb.com/name/nm0551979/Free Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAUTOGENERATED TRANSCRIPTBill Martin:When we got on board, we just got an overall deal with A, B, C. So we were assignable to this and we thought, this is insane. We'd love the commercials about anybody, but there's no way they're going to put on. So we thought it was just like, we'll help out a pilot, meet some new people, and then we'll do something else. It was shocking to us that they put it on tv.Michael Jamin:Oh, howBill Martin:Interesting. Because it just seems so unlikely, but with anything you do, you know how it is. Once you're given your assignment, you've got to find a way to take pride in it.Michael Jamin:You're listening to Screenwriters Need to Hear This with Michael Jamin.Hey everyone, welcome back to Screenwriters. Need to hear this. I got another great guest today Actually. Ordinarily I would never have a sitcom writer who's more successful than me on my show. I out of Insecurity, but I'm doing it today to prove that I'm more magnanimous than he is. And so welcome to the show, bill Martin, whose credits are fricking crazy good and he had so many great credits. I'm going to list some of the great credits and I'm also, maybe I'll throw in some not so great credits to humble you, to keep you humble.Bill Martin:There are plenty of,Michael Jamin:But you started in Living Color and I wanted to talk about that. I love that show. But then she tv, third Rock from the Sun, grounded for Life, and I'm skipping many. Okay, cavemen, the singles table. Hank How to Rock Malibu Country Soul Man, which I believe, I think we met on that and I think you guys beat us out with good reason.Bill Martin:That's what I'm really here for. Revenge.Michael Jamin:Yes. Right, right, right. Living Biblically. We'll talk about that. And the, the unicorn, the neighborhood, the unicorn, which you and your partner created and the neighborhood. Are you guys running that as well, neighborhood or no? We are. You are. Damn. What's it like to be welcome to the show and what's it like to be a working sitcom writer? What's it like working on a network TV show nowadays?Bill Martin:Yeah. Well, I mean, I will point out that it's fantastic and I know that because I've also been a non-working sitcom writer. Plenty. I mean, that's the awful thing about this life we've chosen is that every spring is the panic of, oh my God, am I retired? I just don't know it yet.Michael Jamin:What do you know? Brian Bihar? Do you know who he is?Bill Martin:Yes.Michael Jamin:He said me and he said to me that people in the business are retired seven years before they know it.Bill Martin:Yes.Michael Jamin:I hadn't heard that. I was like, oh God, is the clockBill Martin:Running? I knew that makes perfect sense though. Yeah, yeah.Michael Jamin:But the thing is not even about staffing season anymore now you don't even know when you're not working. You justBill Martin:True. True.Michael Jamin:So what is it like, how is it, honestly, haven't written on a network television show in many years we've been on cable or whatever, streaming. And how has it changed? How has Network changed? More notes, last notes.Bill Martin:That's the weird thing is it has not changed. I mean, we are preserved in Amber. The neighborhood is just the good old days. It's a big writer's room. It's run throughs, it's show nights. It's really almost unreal. When we took the job, we expected it to, COVID obviously jumbled everything up, but once the covid restricted to Lifted, it was like, oh, this is exactly the classic sitcom situation.Michael Jamin:See, one of my fears is that multi cameras will go away because there's so few people still doing it. I mean, do you feel that way?Bill Martin:Yeah, we keep thinking that they're done, but at the same time, people are still watching friends in Seinfeld and there still aren't that many single camera comedies that are that sticky with people. So I'm not sure that they're being given up on yet. I mean, there's pros and cons to them, but I think that kind of warmth that you only have when you're watching an audience show is something that people still crave.Michael Jamin:But I mean in terms of there's so few multi-camera shows being made now, then let's say in 10 or 15 years if they want to make more, who's going to know how to do it?Bill Martin:The breeding pool is, yeah, the breeding pool has shrunk to the point where we'll all be just inbred ligers. Yeah, you're right. Frankly, that's why I'm working because there's not a minor league for it anymore. Yeah, I know N B C and a BBC are trying them. They are developing them, but really right now it's Monday night on c b s and that's about it. So we are fully prepared to just turn off the lights when we leave and that'll be the end. ButMichael Jamin:Now tell me how you broke in, because I think your first creative was living single, I mean not living single, but living color.Bill Martin:Living color andMichael Jamin:Living, which, so there was a sketch show, which huge for the young people. I mean it, Jim Carrey and all these huge stars came out of that, which you couldn't have been imagined back then. It's one of the first shows on Fox. But how did that come to be? How did you get on that?Bill Martin:That was purely a situation where Keenan burned through writers so fast that they were always hiringMichael Jamin:Really.Bill Martin:And we got our first agent and this says 92, and she said, there's openings that in living color. There's always opening today in living color because Kena was demanding and he was hard to work for, but it was a great job. And so we went in and pitched, and I think it was kind of a conveyor belt of new writers coming in there all the time. And we actually managed to stick for the final two years of the show and not get fired, which is a very small club for people who've worked for Keenan, I think.Michael Jamin:And so you put together a sketch packet. How did you even know what to do? I wouldn't know what to do to get hired in a sketch show.Bill Martin:It was write a couple of sketches for existing characters and write a couple of sketches that are new ideas or commercial parodies or something likeMichael Jamin:That. And did any of those ever make it to air?Bill Martin:No, but I think because of how anal my partner Mike Schiff is what we came in with were very thoroughly thought out ideas. I think that's what must have impressed Keenan, was that we didn't come in pulling stuff out of our ass. We were prepared.Michael Jamin:It was such an amazing show. And then you went to she tv, which is interesting. That show was produced. I don't know if it's any interesting for anyone other than me and you, but it was produced by Tamara Rawitz who gave me my first Yes, sheBill Martin:And Tamara was also the producer of In Living Color, where she wentMichael Jamin:There. Oh, I guess I did know that. And she, TV was another sketch show, but it didn't last very long.Bill Martin:Yep. No, I don't even know if they aired all the episodes. It was a summer replacement show when that was still a thing, and it was produced by George Slaughter of Laughin Fame and it felt Laughin vintage even in the mid nineties. It felt a little like a good old fashioned throwback variety show.Michael Jamin:Interesting. Because she went on to produce the Mike and Maddie show, and so she hired me on that and then she jumped ship. I thought she was going to be a big break in, but alright. And then Third Rock on the Sun. I should make it clear we've never even worked together, but you're one of these people. I always felt like one of these days we're going to work together and just never happened. ButBill Martin:Yes. And we also have the Alschuler Krinsky Bridge between us. That's right. Weirdly, they're some of my oldest friends and I've never worked with them either.Michael Jamin:Oh, I didn't know thatBill Martin:Either it's inevitable or we're like the opposite ends of a magnet that can never work together.Michael Jamin:Yeah, right, right.Bill Martin:We'll find out.Michael Jamin:But also, yeah, Abramson Thompson, we worked with him for many years and we great guy. But alright, so then Third Rock from the Sun, another great show. Tell me a little about your experience on that.Bill Martin:Well, those days there were sketch writers and there were sitcom writers and we were sketch guys and we'd written lots of spec sitcoms. We couldn't get a job. We kept working on sketch shows and we had, after she tv, we actually did a House of Buggin in New York, the John Zamo.Michael Jamin:Right. He's great.Bill Martin:That was a blast. It was fun to work in New York, although our producer had to take a brown bag full of cash to some guy in Brooklyn so that we were allowed to film there. So we're kind of in Sketch jail. But Bonnie and Terry Turner, who created she TV then created Third Rock in the Sun. And because they'd come from Saturday Night Live and they'd written movies, they'd kind of done a lot of different things. They didn't have those expectations that you hire, sketch people for sketches and sitcom people for sitcom. So we had a great experience with them on ctv. So we were some of the first people they thought of for Third Rock. So they helped us break out of the sketch jail.Michael Jamin:And did it feel like that? Why does it feel like a sketch jail? It seems fun to me. IBill Martin:Don't know. I think it's just that it took such a specific skillset to just crank out, joke, joke, joke, parody, parody, parody. I think it was just, it may not have been a bad thing. I think it was just because there weren't a lot of people who'd had a track record with it that they were desperate to find you. Yeah, I don't really know. It wasn't fair though.Michael Jamin:I'mBill Martin:Never going back to sketch jail.Michael Jamin:Right. So you don't want to do that ever again. You don't want to write sketches again.Bill Martin:Well, I guess there aren't really any sketch shows left. The sketch shows now I think you should leave is the greatest thing I've ever seen in my life, but it doesn't need me.Michael Jamin:But you don't have, in other words, that craving, we've never done it. I was like, well, I wonder what that been like. ButBill Martin:Yeah, sometimes the idea for a fun parody, it's still hits you every so often and there's just no place for parity other than that. So yeah, I do find myself saying, oh, that's a good idea. I hope Saturday Night Live does thatMichael Jamin:BecauseBill Martin:That's kind of the last game in town,Michael Jamin:But it's a whole new skillset that you had to learn. I mean, what was that jump like to go into scripted narrative to television?Bill Martin:Actually, it was pretty easy just because that's what we set out to do when I met Mike in film school in New York, and we were just cheers fanatics. And so we had written seven or eight sitcom specs before we got that job at a leaving color. So it was all we wanted to do it just that Keller was a job we could get.Michael Jamin:Right.Bill Martin:Interesting.Michael Jamin:We worked with the Stein Kelner who ran Cheers a couple of years. Oh yeah. To me that was so exciting to be, I don't know, because I love Cheers. Cheers was everything. That's why I wanted to be a sit car writer. It was so exciting to be able work. By the way,Bill Martin:Our cheer spec, the plot of it was was a John Henry man versus Machine Cliff Klavin racing a fax machine. That's how long ago it was. SoMichael Jamin:One of the wordsBill Martin:That was a legit idea.Michael Jamin:So he would deliver a letter faster than a fax machine could.Bill Martin:He claimed he could beat a faxMichael Jamin:Machine. That's funny.Bill Martin:The fax machine still took 18 seconds, but it was faster than Cliff.Michael Jamin:That's pretty funny. I like that idea. Oh, well. So then tell me your career. Honestly, you've so many shows way more than we have, so, so then you just jump after Third Rock. How many seasons were you there? You were four Seasons?Bill Martin:Five.Michael Jamin:Five until the end.Bill Martin:Yeah, halfway through our fifth season we left to create Grounded for Life, but it was all at the Car Seat Warner Company, so we didn't really say goodbye. We just moved one building over.Michael Jamin:Now it's so interesting because what was creating that life? Because back then, back then you might leave a hit show to create your own show. I'm not sure you'dBill Martin:Do that to Yeah, no, I think And we didn't know better. And because it was all part of Cari Warner, the risks were low. If it had failed, we could've gone back to Third Rock. I assumeMaybe It felt like we had a net, at least we weren't jumping ship completely. But because at that point, Cy Werner had five or six shows on networks. They owned network comedy, and we thought, and we pitched the show and it sold that, oh, this is easy. You just have an idea. And then Ly Warner puts it on tv. It's great. We were batting a thousand and in very short order, we were batting a hundred and then batting 50. And we realized we had a very skewed idea about how easy the business was at that point.Michael Jamin:And how did you come up with that idea? Walk me through the whole process of,Bill Martin:Well, Mike Schiff, my partner is a bit of a jerk. He's a curmudgeon, he's a grumpy guy, and he was itching to do something different. He didn't want to just do a multicam that hit all the same notes we'd already been hitting for a while. And we went out for lunch one day with our friend Chris Kelly, who ended up writing on the show, and Chris told us a story about taking his daughter to the CAMA dome and having to wait outside the ladies room down those stairs. And it turned into a really horrible, awkward situation. And the story was just hilarious. And we came back from lunch and Mike said, why can't we make a show? That's as much fun as hearing someone tell a great story. And that's kind of the genesis of Third Rock, which was, it was a hybrid back before, the word hybrid was kind of thrown around, but it was a show where you started in the middle, something had happened and someone would say, what's going on here? How did this happen? And you'd go back and tell the story in single Cam. And so it's just a way to make stories more fun to tell, and much, much harder to produce. It was a nightmare because we'd shoot three days of single cam and then two days for the audience. So everybody you worked on, it was gratified by it, but it was hell.Michael Jamin:But did you think about that when you came up with it? Because that would've been on my mind, do I really want to produce this show?Bill Martin:At the time, we thought it was going to be a breeze.Michael Jamin:WeBill Martin:Just didn't know any better. We were young and we'd never run a single cam show before. And the problem also was directors. It was interesting. A lot of Multicam directors had no problem doing the single cam stuff, but then we had single cam directors who were absolutely gobsmacked by the Multicam, the demands, the Multicam.Michael Jamin:Yeah, it's veryBill Martin:Different. It almost killed some of them. DidMichael Jamin:You spend a lot of, how did you divide up time on set? Was it one of you guys on set at all times or what?Bill Martin:Yeah, we'd always thank God we were a partnership because someone would always be on the, we had 12 hour shooting days for the single cam, Monday, Tuesday, Wednesday. And one of us would always be down there, and usually whatever writer had gotten their name on that episode. And then upstairs we were keeping the sausage factory.Michael Jamin:And while the other person's writing the scripts or rewriting whatever, let's say, let's say you're on the set and you come back, what's your involvement with those scripts? If you are not a hundred percent on board at that point, are you, how do you handle that?Bill Martin:Yeah, you're in a partnership that's kind of, if you don't have a lot of trust in the other person, I mean, it could be a disaster. I've heard stories about shows, I don't name them, where the creator would spend the whole day on the set and then come into the writer's room at nine o'clock at night and throw everything out, and you just can't do that. And we would have lots of disagreements, but we also, we still had table reads, so we still had a chance to try things out and fix them. At that point, a lot of single cams weren't even doing table reads. The production demands were so intense that you just had to kind of go with it. But we loved having table reads, nothing like hearing it once and getting that one day to take a whack at it. And we also had hiatus weeks, unlike a lot of single cans. So we do three, but then we'd have a week to decompress and reload, and that made it a lot more doable.Michael Jamin:And how many episodes were you doing in a season? Most of the timeBill Martin:It was crazy. We got a 13 order, but then they asked for six more and then we got a full order. But then Fox canceled us in the middle of the third season. But WB picked us up and added more episodes. So we kind of had this weird staggered thing where it could be as few as 18 as many as 21. And it was crazy.Michael Jamin:I remember back, I haven't done multi-camera in a while, but we were on these multi-camera shows. That's not really true. I did one kind of recently, but towards the end of that long season, if it was like you're up to 20 episodes, you're just exhausted, man, and you're like, oh, how am I going to do another one? But we never ran one. And I think the amount of stress on a showrunner for that, that must've been something else for you guys.Bill Martin:Yeah, it was a lot. But you know what I got to say? The stress of working on a show where the cast is difficult, even if the writing is easy, is much, much more stressful than a show where the cast is great, but the writing is hard. And that's the thing is that for me, I get stressed out, but if I go to stage and the people there are good and they appreciate what you're doing, the stress is always, you can always maintain. Right. It's when you get called to the stage and it's going to be a nightmare and someone's mad, then that's when the stress boils over.Michael Jamin:Right. Because then you've got to do a giant rewrite and there's no time for it. Yeah. Yeah.Bill Martin:We've been pretty lucky on that front. And this was Donor Logan, Kevin Corrigan and Megan Price. They were just great actors and pros and we're thrilled to be there. And if something was wrong, they trusted us. And if something wasn't working, we trusted them. So despite the fact that the workload was grim, it never destroyed us.Michael Jamin:Some people don't realize that. Sometimes you'll get an actor on a show who, who's not that happy to be there, even though you're paying them and they auditioned or whatever, got an offer, they're not happy to be there. So it's odd, but okay. And then Caveman, which is based, that was based on a giant hit commercial, right?Bill Martin:It was a hit commercial and it was a hit show. It was just one of those shows that just America embraced. They loved it. And I think it went five seasons.Michael Jamin:I got to check the numbers there.Bill Martin:I can see your face going, wait, does he?Michael Jamin:I got the wrong show. I'm turning Red.Bill Martin:Oh, yeah.Michael Jamin:But that must've been hard because you guys developed that as well, right?Bill Martin:We did not, actually, that was one where the original directors and the writer of the original commercials developed it, and the studio felt they needed some experienced hands to come in and help. So we were actually brought in during the pilot after it was already mostly cast and on the way to production. So it was kind of a runaway train at that point.Michael Jamin:See, I love hearing stories when other writers were being tortured.Bill Martin:Yes.Michael Jamin:That's what I'm getting at. Yes. So is that what Yeah,Bill Martin:It was torture. And the weird thing was it wasn't, first of all, it wasn't a bad idea, it just that because it was perceived as such a cynical idea, the knives were sharpened for it. So I don't think any of us realized how ready critics would be to hate something that was based on a commercial, because that said, the creative people behind it were all fun and interesting and good. We ended up being friends with all the guys. It wasn't a bad creative situation other than it was a fool's errand. We were being sent into the Lion Stand, and once it got into production, a single cam show with a certain, the visual stylists of the show, the guys who did the commercials really wanted to be sleek and clean and neat looking and modern, like the commercials. And that was a high bar to reach. But add to that, that every single cast member had to be in makeup for four hours before they could shoot. I mean, literally by the end of the second episode, their faces were chafed and red and they were in agony, and they were upset and met. And these were good professional actors. Like Nick Kroll, wonderful, but you can only torture a man's face so many days in a row before they go, oh my God, what's happening? So it was almost reproducible.Michael Jamin:But that's interesting. You said, I think you're exactly right. There's something, it was already labeled with a cynicism of like, oh, okay, it's based on a commercial and therefore it can't be any good. But did you know that when you signed up, could you even possibly have thought about that when you got on board?Bill Martin:Well, when we got on board, we just got an overall deal with A, B, C. So we were assignable to this, and we thought, this is insane. We love the commercials budget, anybody, but there's no way they're going to put this on. Okay. So we thought it was just like, we'll help out a pilot, meet some new people, and then we'll do something else. It was shocking to us that they put it on tv.Michael Jamin:Oh, how interesting.Bill Martin:Because it just seems so unlikely, but with anything you do, you know how it is. Once you're given your assignment, you've got to find a way to take pride in it. You can't blow it off. So we dug in and the pilot had some issues, and the first episode that we ran, we kind of got into shape. It wasn't quite there. And then suddenly the third episode, I said, okay, that's funny. We figured out, and in no small part, Nick Kroll was a secret weapon, but by the time we figured out on episode three how we could make a show that we could be somewhat proud of, after the first episode aired, we were already dead. We were summarily executed, but go to YouTube and watch some of the later episodes of Caveman, which are still illegally out there. And it's actually a pretty funny show, and it's got a great cast. I'm not sure Steve McPherson was in his right mind when he picked it up.Michael Jamin:It's so interesting. I mean, you're absolutely right. No matter what show you're working on, you're going to find something that you love about it. You'll take pride and you'll lean into that. But yeah, you're right, because we did an animated show and for some reason they decided to put a laugh track on the first episode. And I remember yelling, why wouldn't there be a laugh track on an animated who exactly is laughing? Are we going to see the other animated characters in the audience who's laughing and lost that fight? For sure. And we got raked over the coals justifiably. So once you had that stink on you,Bill Martin:Yeah, yeah.Michael Jamin:We fought it. You can't fight. You can't win every fight. What are you going to do?Bill Martin:I don't think you can win any fight, can you?Michael Jamin:I wouldn't know what that's like.We did a show, oh my God. We did a show that was very low budget, and we had a slow mall budget for food. And so I sent the PA to go to the Whole Foods and get me these yogurts that I like that has the fruit on the side. It was a hundred dollars, whatever, just get some yogurt. And we submitted it in, and then we got yelled at by the studio saying, why is this bill from Whole Foods? And I remember saying, well, whatever, it's a hundred dollars. Does it matter where we spend it? And they go, yeah.Bill Martin:Oh no,Michael Jamin:You're not. A Whole Foods kind of show.Bill Martin:This is a Ralph's show.Michael Jamin:This is the Vaughn's Show. Yeah, that was So, yeah, you don't even win that fight, but maybe you wouldn't morph. I don't know. You must be able to win some fights.Bill Martin:Well, it's also one of the things, I think because I'm not an aggressive person, I always start every show with, I'm so lucky to have this. How lucky I got a parking space and a computer. I get to make a TV show. And sometimes I don't realize until I'm doing something I hate, I'll go like, oh, shit, I should have this. Didn't have to be this way.Michael Jamin:SoBill Martin:I think as we've gotten older, we've gotten crunchier, and we'll be a little more blunt about things, but certainly early on it was just like, pinch me. I can't believe you guys are letting me drive the car here. It'sMichael Jamin:Great. Yeah. But that's a big jump because was the first show you ran, was it grounded for Life?Bill Martin:No, the first show we ran was actually House of Bugging because of some weird politics. The showrunners got fired and we got bumped upstairs out of nowhere, and we were in our twenties and didn't know what we were doing, but we were already in Queens and they needed someone to,Michael Jamin:You were in Queens?Bill Martin:Yeah, we were the only ones in QueensMichael Jamin:WhoBill Martin:Could possibly do this job. So when we came back to do Third Rock, we had artificially inflated titles because we'd run House of Buggin. But then during the second season of Third Rock, the Turners tapped us to take over for them. Oh,Michael Jamin:I didn't even know that. I'm sorry. I didn't know that. Was that scary for you running?Bill Martin:You know what? It wasn't because it was the happiest place on earth and curtained. I mean, I hate to be Mr. Aw Shucks show business so fun. But that cast made work such a joy that there was no way it go wrong. Had an amazing writing staff, and the actors were delightful. It felt weirdly easy to do. I mean, we were stressed because we knew that we were being handed a baby and the baby was successful and 20 million people watching the baby every week. So there was certainly some pressure on us, but at the same time, we knew we could do it. And we knew that everybody had our backs with a very nice familial situation.Michael Jamin:It really was. I mean, that show really was, it was a big show. It was one of the shows everyone talked about if you were trying to break into show business, you had a spec for that show. It was a big responsibility. It was an honor to get tapped.Bill Martin:Yeah.Michael Jamin:Yeah. Everyone loved that. Yep. Then, okay, what shows should we talk about more? I don't know. What shows do you want to talk? They're all great. I dunno. Tell me some experiences that you've had. I don't want to go one by one, there's too many.Bill Martin:Yeah. Well, so far the ones you've skipped are good ones to skip. You steer running into caveman, but that's fine.Michael Jamin:I did.Bill Martin:I guess really for me, shows are divided up into the shows we ran and the shows you worked on. And typically, if you're not running a show, there are creative frustrations that you feel because you wish things were different. That said one of the most fantastic experiences of our career was working on trial and error because Jeff Astro of the showrunner and he'd worked for us. So we kind of had that, you got to listen to us a little bit, Jeff, and we helped get John Liko to agree to do it. And at that point, we'd been on a few Multicam that weren't great, and this was a real interesting single cam, fake doc with John, and he was super serialized, like a true crime series. And that was just a blast. And I'm still very proud of that season. We did not work on the second season. They sent it to Canada and shaved off half the staff and it killed Jeff Astro.Michael Jamin:Really? When you say,Bill Martin:Well, was Christian Chen, it was still a great season, but it was not as easy. It was kind of Warner Brothers was trying to cut every corner they could on it. SoMichael Jamin:When you say killed them, they overworked him and cut the staff. Yeah, yeah. People don't realize that I think be brutal. And then of course, the Unicorn, which went two seasons, and that's a big deal. That's really, when I think about it now, it's actually quite a big deal that you got your own show on a network these days when they pick up two shows a year, maybe it's nothing.Bill Martin:No, that was really threading a needle there because we had pitched it all over the place, and it's based on a true story, based on a friend of ours who went through this awful situation where he lost his wife when his kids were young. And we finally sold it c v s on the last day of selling anything. It was like October and Julie Per Worth calls the last second and said, we want to do it. We went, oh, no fucking way. So I mean, it was something that was both a passion project and just endless sadness for us. And so we started doing it and it went back and forth single multi, single, multi. We're trying to find the right guy to play the guy. And we knew, we'd always said, this is a single cam and it's going to be serialized and it should probably be on a streamer because that was when streamers seemed like the promised land, but c b s one, even though their forte was malteses. But then we met Walton Goggins who only came in because one of our producers is Peyton Reed, who's an old college friend of ours, and the guy who inspired the show and he'd worked with Walton on Antman. And so Walton trusted him and he came in for a meeting and Walton is just the greatest guy.Michael Jamin:SoBill Martin:He saw this, he found he had a personal identification with the guy, and once he jumped in, he said, I'll do it. I mean, it's going to be single, obviously, but I'm in. And David Nevins and everybody at CCBs were so thrilled that Walton Goggins wanted to do a sitcom that's like suddenly we were fast tracked and it was all the way onto television.Michael Jamin:Wow. Did you pitch it cool with the title The Unicorn? Because I was like, that's a smart title. I would think that, yeah,Bill Martin:It's funny. It did. And Mike Schiff never liked it.Michael Jamin:Oh really?Bill Martin:By the way, Mike's usually right, and I'm wrong about stuff, but I do like to Lord it over him. I assume he's going to listen to this. He didn't care for it. But it's one of those things, once it leaked out, people said, oh my God, oh my God, that's perfect. And the fact was it had to happened to coincide with a time when unicorns were everywhere. Unicorn kitty pools. And it was the unicorn moment anyway. Yeah,Michael Jamin:Yeah. I remember hearing about it. It was like, ah, damn, I'm surprised you said it took so long to sell. Like damn it, that one sells right away. That's an idea that sells. SoBill Martin:It's interesting.Michael Jamin:Yeah,Bill Martin:We didn't make up the title. It's whatMichael Jamin:I know.Bill Martin:Guys like Grady are known as on Tinder. They check all these magical boxes for what a perfect guy should be.Michael Jamin:Yeah, right. That's such a great, and then after that, the neighborhood which you jumped in, it had already been running for, no, tell me if I'm wrong.Bill Martin:Yes, it had, here's my vindictive tale of revenge. It's not vindictive at all by the way, but we had a pilot with Cedric. We had run his show, the Soul Man on TV Land for a couple of years.Great guy. We had a great time there. And when that ended, he said, let's do another show together. So we pitched out a show that it was his idea and his manager, Eric's idea, to do a show where he's a fire chief. So we pitched it and c b s bought it. We wrote it, it was a single cam, was kind of gritty because we wanted to do something that was hard to produce as usual. And at the end of the day, they didn't want to pick it up. But we were producing with Eric Kaplan, I should me, Aaron Kaplan. And Aaron quickly plucked Cedric out of our pilot and put him in the neighborhood, which was his other pilot. So we were basically just for him, a Cedric delivery system.So we weren't bitter because we knew Jim Reynolds. He's a great guy. And we were happy for everybody except that shit. And there goes our pilot. But it's funny, when we were producing the Unicorn, we were in the neighborhood's offices. It just happened to be that we were having the same line producer, pat Kinlin, who had done Third Rock with us. And Jim was in the midst of the first season of the neighborhood. And it was hard because first seasons are hard. And he was like, oh my God, this is killing me. And I jokingly said, don't worry when you get fired season three, we'll come in and take over. And it seemed hilarious at the time. And what do you know? It happens. And to Jim's credit, he did think it was funny that my smart ass remark had come full circle.Michael Jamin:And what was it like stepping into the show that wasn't yours? I mean, you've, not that you've done it before, but stillBill Martin:It's hard. Yeah, it's hard. And we came in with a whole new people. The feeling was clean slate, let's reboot this. And we had heard from Pat Kinlin the producer, you're going to love it here. It's the happiest set since Third Rock. And I was like going, yeah, yeah, yeah, nice try. But it kind of was, the cast had jelled and the crew was cool, and it was a very happy place. I mean, there had been issues, but we pretty quickly felt at home there. It was nice. And that's why we would love to stay there as long as possible.Michael Jamin:Maybe you will. I mean, well, we'll see what happens to the strike, but maybe you will. I mean, it seems like now they're giving shows a longer, tell me if I'm wrong, networks are giving shows a longer chance because it's too risky almost to not.Bill Martin:Yeah. Yeah. And I think for c b s shows built around someone that people love, said it's hard to recreate that when you have someone who's that warm and magnetic at the center of a show. You're halfway there already and the show is steadily. I mean, obviously all audiences are declining and atomizing all over the place, but it feels like the numbers have defied gravity a little.Michael Jamin:Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not going to spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.What's it like now? Because one of the biggest things, you've obviously staffed a million shows and you got to read specs from, you must stick through a pile of specs every season when you're doing this. What are you looking for in new writers?Bill Martin:Yeah, it's funny. For the last 10 years or so, you only read pilots because there aren't any spec shows to write anymore because there aren't any water cooler shows that everybody knows.So I mean, it used to be, and I kind of like it because someone could write a good per enthusiasm that sounded right and had the rhythms, but it might not mean they were capable of a lot of things. It just meant they had created a good version of this very specific thing. Pilots, the writer's whole personality comes out. And I think it's nice to you get a peek into how weird someone is, and we just want people who are different and weird, and you want that array of points of view to be very, you don't want eight Mike Schiffs lock, Lord, help us. And I think it's really just if someone catches you off guard with something you didn't expect to be funny. And people who just write characters, the one thing I hate more than anything, and if your spec starts with single people in an apartment talking about sex, I'm not going to read page two. It's like there's thousands of them, and it's very hard to get anything out of that.Michael Jamin:That's interesting. I've said the opposite. I've said to me, it's easier to read a speck of an existing show. I know the characters, I might know the characters, and it's easier for me to see do they get the voice. But if it's a pilot, it'sBill Martin:Easier. That's the key, Michael. It's too easy.Michael Jamin:But if it's a pilot,Bill Martin:Someone's,Michael Jamin:It's hard for me. Don't make me do more work. If I'm reading, that's the problem. If I'm reading an original pilot sometimes, okay, first I have to remember with the characters, okay, who's this character? What's their relationship? And then I'm like, okay, what's the tone here? It's hard for me to, are they trying to be big or is this just bad writing? You have to figure that out too. No, you're more of thatBill Martin:Mind. It's more work to read a pilot. It is, but I think when someone pops out of a pile, it's a bigger pop when they've created something entertaining whole cloth.Michael Jamin:Right. Well, that's true. That's true. AndBill Martin:Also for Multicam, s, jokes matter, but for single cams, you need a couple of people who write jokes. But also then it's a lot about story and character. And I think it's harder to get that from sitcom specs. It's easier to get that from something that's personal to somebody.Michael Jamin:Do you have a preference as to what you want a single or multi?Bill Martin:The artist in me wants to do single. The person who has to wake up and go to work and then get home and be happy, likes multi,Michael Jamin:But the Multicam, the hours are worse,Bill Martin:Is so great.Michael Jamin:Wait, multi. If you're doing a rewrite on a multi-camera after a network run through, you might be there at all midnight or whatever.Bill Martin:Never.Michael Jamin:Never. You always have good,Bill Martin:Well, no, by the way, yes, you're right. But on the neighborhood, I don't think we had dinner three or four times. There is, and that's not because we're so fantastic. It's because the show works. If a Multicam works, the hours are great. If a Multicam doesn't work, then you're right. If the run through is so bad that you're reworking the story. And we've been there too, and we had even Third Rock early on, we had some late nights. But in the ideal world, when a Multicam is working, it's the best job in the world, and Sedric knows what he wants. He's also approving the stories. He's approving the pitches early on. So we're not taking something to the table that he's not invested in. So I think, and if he were an ogre or had bad taste, it would be terrible. But the combination of him trusting us and us trusting him has made it a really sweet gig.Michael Jamin:So you'll pitch him, okay, I'm curious how it works. You'll start breaking a story. You won't get too far. Maybe you'll have some act breaks and then you'll bring it to Cedric. But you won't do more than that. You won't do more work than that. Right.Bill Martin:You never know when he'll say, and sometimes he does that thing too, where he'll go like, no, I don't know about that. How about that? Instead like, oh, okay, that fine. That's easy to do. He's great at having that natural story sense of what his character would do.Michael Jamin:Now, did you ever pitch him or anybody else? This is my fear. You pitch them, here's a great story idea for you. And they go, oh yeah, they love it. And then you go take it to the room and you go, I don't know how to break this.Bill Martin:Yes,Michael Jamin:I thought I know how to break it, but I don't how to break it.Bill Martin:That is what I would do if I didn't have a super anal partner. But Mike, and we know we still have those times, but once I have an idea, I'm good to go, Hey, look at this great idea. Let's go. But Mike's only like, I need to stare this for a day. So we say we give Cedric ideas early in the process, but the fact is we send them through the ship Aron 8,000 beforeMichael Jamin:TheBill Martin:Upgrade, they get out of the room.Michael Jamin:And so I'm just curious. So it's a couple of you may spend, let's say two or three days on a story idea and then bring it to him.Bill Martin:Yeah. I mean, some are easy, some are one day, some we will break five different times and still get it wrong. And the six time will do it. I mean, we work hard and Lord knows when we go back into production and we're going to have a three minute pre-production period, we're going to be fucked. But last season we had eight weeks. It was plenty of time to find our rhythm there,Michael Jamin:Right then. Okay. Then after that, you still got a picture to the studio and then the network, and they can still say no or to you saying, well, Cedric really likes this.Bill Martin:Yes, we do. And the thing is, it's not just Cedric, it's also Wendy Trilling who used to be the head of CCB ss. And she is cool, and she's smart, and she's not afraid to hurt our feelings, which I love about her Eted, her trust her. So in a weird way, by the time the network sees it, they know Wendy likes it. And if Wendy and Cedric like it, they tend to say, in fact, at a certain point, we said, can we stop doing outlines and go, we have a very detailed story document. Can we just go to script? And they'll say, okay. So that also helped us that they would trust that process.Michael Jamin:Yeah, that's actually, it's a big advantage that Wendy's producer in the show because yeah, she knows what the network wants. They trust her. And so it's almost like it almost removes an obstacle in the future. You get it out of the way. Now that's interesting.Bill Martin:And also, it's something that we want to do, and Wendy has signed off on it. It's like, we don't have to be dick's. We can say, I know, but let's see it on its feet because everybody over here likes it. It usually works for us.Michael Jamin:And are they bringing audiences back now? How does it work?Bill Martin:They started to, the problem we had last year was they did the whole season before we got there, block and shoot, because they had no choice. And it frankly made everybody a little relaxed because it was very easy lifestyle. And the fact is, when you have an audience that's basically crew and extras, it's easy to not go hard for the laughs on the other side when you have Tashina Arnold and Cedric, the Entertainer, and Max and Beth, these are people who swing for the fence every time. So I honestly don't think you can tell they weren't doing it for audience because they're selling it so hard in a great way. So last season we still did block blockage shoot, and we kept saying, the audience is going to be back any second. We're about to go back to audiences. But it was working. WhatMichael Jamin:Do you do? So now that you're on strike, what is it like for you now on strike when you don't have these creative muscles to flex? What, are you craving anything? Or are you doing anything on the side, a novel or something?Bill Martin:No, I mean, I think me and Mike are revisiting things that we had to put aside and doing brain work on them, because we don't want to waste this time completely. But early on, early on, it had been a long time since we had an off season where we knew we had a job to go back to. Third Rock was like that, and Grounded was like that. But it's been years since we had a non panicky off season. And this finally, we had a pickup. This was like, ah, I'm going to go on vacation, A real vacation. And that vacation turned into the strike, but I was like going, it's a strike, but still, we're going back. It's September. And it just gradually dawned on me like, oh, this is really hurting the show. So I've kind of been in denial that I needed to worry.I mean, all signs are that when the strike is over at whatever, we are going to go back to work. And people still want the show, and Cedric's still ready to go, but it takes some of the fun out of it, obviously. And I shouldn't be complaining because we're still in such an ideal position. The last strike, we had to walk off the set on cavemen and let other people edit the show and completely divorce ourselves from that. We've been killing ourselves on and getting force majeure out of a deal. I mean, it just destroyed our career completely. This is a much less terrifying strike, even though it's plenty terrifying.Michael Jamin:It's so interesting because howBill Martin:About you? I mean, are you able to function creatively? Are youMichael Jamin:Retaining yourBill Martin:Wife?Michael Jamin:No. Well, I have definitely both, but I have a book that I'm writing on the side, so that's my little passion project that keeps me entertained writing and performing it. But in terms of, it's interesting that you still panic about that next job. And for me, it feels like, wow, I guess I stopped panicking a long time ago. I don't know why, but you're so successful and you always get that next job and don't know.Bill Martin:That's how it looks. I'm looks,Michael Jamin:I'm looking at your I M D V page. It definitely looks that way,Bill Martin:Yes. But it's a lot of times where we were falling off the building and grabbed onto the ledge with our fingernails, and we took a lot of jobs that were under our quote just to keep working. We've had our feast and famine. Certainly I M D B looks chock full of stuff, butMichael Jamin:We've taken jobs who always, I mean, plenty of jobs under our quote. I mean, it's just like, while it's that unemployment, so you take the job, yeah.Bill Martin:After you take three jobs in a row under your quote, it's no longer a quote.Michael Jamin:Well, I remember on that first one, I was like, we have a quote. We have no anonymous quotes anymore, so why is it a quote? What's going on here? But yeah, it's so interesting that you still have that feeling looking at, for me, from where I stand, wow, the grass is really green where UI guys are. So it's interesting. Well,Bill Martin:I hope I'm relaxing now. I finally got my kids out of college, so this was my first year without tuition payments.Michael Jamin:Interesting.Bill Martin:In 25.Michael Jamin:What are they going to do now? Are they going to get in Hollywood in theBill Martin:Business? Nope. Nope. None of them are interested. I mean, one of them in particular certainly should be, he's hilarious. But the thought of putting himself out there creatively in a business that has no easy way in anymore, I think he just is very happy to be a barista, not put himself out there because it's nerve wracking. And I get it.Michael Jamin:How do you see most people, the new people that you're working with, the young kids, how are they breaking in then?Bill Martin:Yeah, I don't know. That's the scary thing about this tipping point we're at right now is when I hear stories about young writers who make a year out of four mini rooms on shows that they've even heard of. I mean, the fact is that the business has become so diffuse that those clear paths, pa, writer, assistant writer's room, job, those are so few and far between now. I can't figure it out. People aren't going through these main arteries. They're going through these weird tiny capillaries to weird things.Michael Jamin:Right?Bill Martin:Pretty good analogy.Michael Jamin:I love it. You should be a doctor. But don't ask, would they show up? I mean, you have a staff and you don't ask 'em where the script has somehow got on your desk to an agent or a manager, and you're like, okay, you're hired, basically.Bill Martin:But the thing is, on the neighborhood, it's quite a few standups,And it's a few people that we know and trust from years of working with them and a couple of young people who were writer assistants who are knocking on doors. But it's funny because we had so many people in place, it wasn't like we were out beating the bushes for new voices that were coming out of nowhere. But I'm sure that's true in a lot of places. It's just that when you're at a C B S studio show that's already running, it's kind of like that old fashioned machinery that's feeding you. These writers is already there.Michael Jamin:Yeah. Yeah. It's so interesting because I don't know, I'm not sure how people are doing it. We gave a talk at, I think at L M U, and there's a young woman, and she just made a hit podcast, and then that got her discovered. It was like a scripted podcast. I was like, oh, tell me about that. Interesting. So do you have advice then for people listening, words,Bill Martin:Encouragement? Last night, I was giving advice to this year's crop of interns from the U N C Chapel Hill, which is where I went to college. In fact, look, there it is. And I had to apologize because I said, look, here's the traditional way in. If you want to get in the writer's room, become a pa. And I also admit that that way of getting into the business may disappear. And if you have other creative outlet, if you can do a great podcast, if you put stuff up on YouTube or you have TikTok, there's a lot of ways to express your comic voice that aren't writing sitcom specs and waiting for your turn in the writer's room as a dinosaur. I'm not really the perfect person to ask,Michael Jamin:But I think you're right. It's about put the creative energy out there, stop begging for work, start making your own opportunities, and probably good things. Good things may come your way, I guess. Right?Bill Martin:Hopefully. And I also would like to think as the strike goes on, people will periodically say, why doesn't someone do what Charlie Chaplin did? Do United Artists start a creator, talent driven production? And I do feel like when I listen to a great podcast like Valley Heat, which we were talking about before we went on, you realize there are ways to create an entire world for a show for no money. And in my mind, valley Heat, everyone should listen to this thing.Michael Jamin:Yeah, listen to it. TheyBill Martin:Should just take that, put it on camera, it's ready to go. I mean, it's a show that is fully developed that no one owns a piece of. And I guess that would be what my hope is, that if we don't like working within the system with these jerks, if you're young and have that energy, make something. Yeah. And who knows? I mean,Michael Jamin:See, we agree on that. We didn't agree on spec versus original pilots, but we agree on this.Bill Martin:That turned into a pretty ugly fight.Michael Jamin:It was contentious.Bill Martin:But that's the kind of heat that I think gets these podcasts to catch on.Michael Jamin:I think so. But also as you're learning your craft, you're getting better at it. And I don't know. I see it happening. I see people making a name for themselves. I was on the picket line, I think it was at Disney, and I ran into this guy. He was on my podcast, and he recognized me, and he was a joke writer on Kimmo. I go, how did you get that job? He goes, well, I was just tweeting Day and Jokes. I like doing it. And after about a year or two, they found me and they hired me. Good for you. But he was putting the work out. He was doing the work and getting better, and that's how he got hired. SoBill Martin:GoodMichael Jamin:For him.Bill Martin:And it's been, I guess, shit, my dad says was the original tweet becomes a show, andMichael Jamin:We all rolled eyesBill Martin:That from the caveman syndrome of cynicism about how are you tuning it Twitter into a show? But if you're funny, people will find you.Michael Jamin:Yeah. But like I said, I remember that happening, really? Is this how it works now? But they were just at the forefront and yeah, that's how it works now.Bill Martin:Yeah. Yeah.Michael Jamin:Damn right. I'm always late to the trend. So Interesting. And I guess before I wrap up, what is it like for you working? People want to know, working with a writing partner, how does that dynamic work with you guys?Bill Martin:Well, there aren't a lot of writing partnerships that last this long. I mean, you guys and Al and Krinsky, there's a few. And I think for me, it's having that yin yang thing. I'm not a worrier, I'm not detail oriented. I don't tend to stress out, and Mike does, and I only really want to do half the job of running a show. Luckily, he can do the other half. So I mean, I think a lot of partnerships are based on people having the same sense of humor and just getting along, and that's great. But for me and Mike, we don't actually get along all that great, but we do agree on what's funny and we respect each other and it makes the job doable.Michael Jamin:Wait, you said you don't get along that great?Bill Martin:Well, we get along great, but I mean, one of us is a drunk pot smoking redneck from Florida who doesn't give a shit. And the other's an incredibly neurotic, buttoned up Jewish guy from the priest side. The only thing we have in common is Cheers and Albert Brooks.Michael Jamin:But you met in school, right? In film school,Bill Martin:Yes.Michael Jamin:Right.Bill Martin:Yeah. We just met because he was the only person in our writing class first year who I thought was funny. And so we just kind of found each other because we're the two guys writing comedy in that big screenwriting workshop.Michael Jamin:And you leapt into each other's arms. Yeah.Bill Martin:Yes.Michael Jamin:It's so interesting. But it is so funny when you said about it, you only want to do half the job of a showrunner. Yeah, it's a lot of work. It's a big job. That's something my partner and I say all the time, I don't really want to make this decision. Can you make it? It's a lot of work.Bill Martin:Yes.Michael Jamin:And a lot of times we'll punt it to even a hair and makeup. Well, what do you guys think? All right. You guys seem to got a good handle on what the wardrobe should be that you do it. Yeah. SoBill Martin:Interesting. I'm always very happy to let someone else do that.Michael Jamin:Yeah,Bill Martin:We do take turns firing people. That's the one awful, horrible thing. We haven't done it a lot. But the last guyMichael Jamin:Are talking about writers or other people.Bill Martin:Anything. Anybody. Yeah.Michael Jamin:Interesting. Because when we were on set on a single camera show, if one of us has to run onto the stage to give the actor a note or the director a note, it's always like, you do it. You do it. I don't want to, how many times am I going to go on set and tell them they're doing it wrong? Can't you tell them they're doing it wrong? I don't want to be that guy all the time. Yeah.Bill Martin:We had a great run for several years where whenever we would get a pickup, I'd be on stage and get to announce it, and every timeMichael Jamin:We Good news gotBill Martin:Our order cut, Mike would be on stage and it was hilarious. I was the hero with the, and it was killing him. It was happening over and over again, just by God smiling onMichael Jamin:Me. Oh, that's so funny. That's freaking great. We did an episode, I think it was Andrew shoot me, we're writing a script and I was adamant that this joke was going to work, and Seever it was like, I don't even get it right. And I'm like, no, this joke is great. You have no idea what you're talking about. And so we take the descrip, I guess it got to the table somehow, and at the table we hit this joke, nothing, and the room's just silent. And I just start busting out laughing. I was like, oh my God, I can't believe how wrong I was. And I'm laughing at her wrong. And then afterwards, everyone's looking at Seabert. They're like, assuming it's his joke because I'm laughing at him and now I'm laughing even more pushing him under the bus. But yeah, there's that. But yeah, there's always, I guess I feel like maybe you feel the same way. If he comes up with a line, great. That's one last line I got to come up with. You know what I'm saying? It's mine now. Anyway, so yeah,Bill Martin:For me, the great thing about writing teams is, well, you're a single writer. You turn on a draft. When a team turns in a draft, it's a third draft because you've already fought it and it just makes things better. I mean, everybody has their partners. It just may not be there, someone they write with, but when you take it to the table or you take it to the writer's room, everyone's going to get a whack at it anyway. But for me, I think it just makes that initial idea, everything has to kind of, you beat things back and forth and you find 'em out and you end up with better drafts.Michael Jamin:Yeah, I totally agree. I always see that with writing teams. Their scripts just tend to be a little tighter. Just somehow they're a little tighter. They've already fought it, fought over it. So yeah. That's interesting. Well, bill Martin, thank you so much for doing this. This is a real pleasure. Honestly, it is an honor to have you on this and talk about your experience as a showrunner and a creator of really great television and yeah, it really is an honor. Thank you.Bill Martin:This has been great for my self-esteem. I don't normally talk about myself a lot, but man, I come off great.Michael Jamin:You certainly do. I'll fix that in editing. I'll ask these questions then put a long dead pause before you answer. People are like, what's wrong with this guy? Why is he taking so long to answer? But thank you again so much. Anything you want to promote or plug other than your shows orBill Martin:Watch Season six of the Neighborhood when it comes on sometime in 2024? Yes.Michael Jamin:Hopefully that's sad. Yeah, that is sad. Well, thank you again so much. Alright, everyone, another great episode. I have to say of my podcast screenwriters, need to hear this. Keep following me and keep writing more. Good stuff coming. Thank you. Again,Phil Hudson:This has been an episode of Screenwriters. Need to Hear This with Michael Jamin and Phil Hudson. If you're interested in learning more about writing, make sure you register for Michael's monthly webinar @michaeljamin.com/webinar. If you found this podcast helpful, consider sharing it with a friend and leaving us a five-star review on iTunes. For free screenwriting tips, follow Michael Jamin on social media @MichaelJaminwriter. You can follow Phil Hudson on social media @PhilaHudson. This podcast was produced by Phil Hudson. It was edited by Dallas Crane Music, by Ken Joseph. Until next time, keep writing. I.

This episode was originally released June 22, 2022.Richie Stephens became an alcoholic and a petty criminal as a teenager growing up in Ireland. He became a drug addict and then a drug trafficker as his life spiraled out of control. The Irishman eventually ended up in San Francisco where he joined a Chinese gang. He nearly ended his own life before realizing that his addiction was at the heart of his self-destructive ways. A journey to sobriety and a trip down the state of California to Hollywood led to Richie Stephens becoming an actor where today (of course) he often plays criminals. Stephens tells the incredible story of his life with co-authors John Altschuler and Dave Krinsky in the new book "The Gangster's Guide to Sobriety: My Life in 12 Steps."The coming together of the authors and the writing of the book is an incredible story in and of itself. It's now being developed as a TV series. That's because Altschuler and Krinsky are successful Hollywood writers and producers known for creating and running high-profile TV shows including creating the successful series Silicon Valley. During this podcast, Altschuler and Stephens tell that story along with tales from Stephens' life and lessons learned on Stephens' path to sobriety.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Securities law attorney Robert Heim, a Partner at Tarter, Krinsky & Drogin, discusses the ramifications of the SEC's loss in the Ripple case. Anthony Sabino, a Professor in the Department of Law at The Peter J. Tobin College of Business at St. John's University, discusses the FTC's loss in the Microsoft/Activision Blizzard case. June Grasso hosts.See omnystudio.com/listener for privacy information.

Securities law attorney Robert Heim, a Partner at Tarter, Krinsky & Drogin, discusses the ramifications of the SEC's loss in the Ripple case. Anthony Sabino, a Professor in the Department of Law at The Peter J. Tobin College of Business at St. John's University, discusses the FTC's loss in the Microsoft/Activision Blizzard case. June Grasso hosts.See omnystudio.com/listener for privacy information.

The Ante4autism Texas Hold'em tournament in Las Vegas was founded in 2009 by Doug Krinsky and is now held at the South Point Hotel and Casino each July. Doug and his wife Kelly Krinsky founded Beat Autism Now, Inc. a 501 C 3 not for profit organization, in 2008. The Ante4autism event is now part of Beat Autism Now as the main event conducted every year.  There is now a Host Committee of 12 individuals from across the country that help organize and run the Ante4autism event each year.   Ante4autism was started to raise awareness about Autism and raise money within the home furnishings industry, to help support the needs of the families impacted by Autism.  As of August 2021 they have raised over $1,000,000. The proceeds of the event are now donated back to five Autism related charities each year. We have donated to national autism advocacy groups such as Autism Speaks as well as local organizations like the National Autism Association Southeast Ohio chapter.  Each charity has their own unique identity.  They do many great things to help the families impacted by Autism, such as research into the best therapies and grants to families to help pay for medical expenses.

Rivka Krinsky is an oil painter based in Miami Beach. How does the Rebbe's interactions with artists impact her work and life? And how has she been led by the Rebbe throughout her life, through a miracle that she experienced as a young girl? || To support Human & Holy, visit humanandholy.com/sponsor or email us at info@humanandholy.com. To join our online community, visit humanandholy.com/community.

Were you a fan of the TV show Silicon Valley? If so, make sure to check out this podcast episode featuring John Altschuler, one of the show's creators.Show NotesJohn Altschuler IMDB - https://www.imdb.com/name/nm1014365/John Altschuler Wikipedia -  https://en.wikipedia.org/wiki/John_AltschulerJohn Schuler Emmys - https://www.emmys.com/bios/john-altschulerMichael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAutomated Transcription:John Altschuler (00:00:00):And I got back from delivering pizzas. And this is like, we didn't even have an answering machine. Okay? This is like we had no money or whatever. I get back, my phone's ringing and I, I remember it was about four in the afternoon and I, I pick it up and I can I speak to John Altschuler and I go, this is, this is he? And he goes, this is Mad Simmons. No, his rats. I think this rats, you know, this is rats of Soman. And he goes, money talks. What have you got? . Okay. I'll be like, what is, I got your dollar beer bill right here. What have you got?Michael Jamin (00:00:33):You're listening to Screenwriters. Need to hear this with Michael. Janet.(00:00:41):Hello everyone. Welcome back to Screenwriters. Need to hear this. I'm Michael Jamin, and I have another great guest today that I don't know how many people are listening. I have thousands and thousands of listeners. And I'm telling you, not one of them is deserving to hear this man speak because this guy, the credits, his credits. And I'm gonna start off by saying, say, welcome to my show. It's John Altschuler. I'm gonna give him the proper introduction. He's my friend, but also many times he's been my boss and this guy, he, he was the, he ran, he and his partner, Dave Krinsky, ran King of the Hill for many years. They created Silicon Court, co-created Silicon Valley, their movie credits, or they also created The Good Family. Do you remember that show? They, they ran Beavers and Butthead for a while. They, they're in credits in they created, wait, did I say Silicon Valley? Yes. Their movie credits are included. Well geez,John Altschuler (00:01:31):John Henry, I'll tell you, blades of Glory,Michael Jamin (00:01:34):My Tongue, blades of Glory. But also produced X Track. And and they ran Lopez on I think that was tbs. Where was that? Tb?John Altschuler (00:01:44):That was Viacom, yeah,Michael Jamin (00:01:46):. And, and I worked on it. I don't remember what, but never . But John, thank you so much for the coming to the show. This is a go, this is gonna be a great one because John is one of, first of all, lemme start from the beginning cause I'm not even sure if I know all this. Like, when did you decide you wanted to be a writer?John Altschuler (00:02:03):You know it's interesting because I think, I would say when I was 10 or 12, Uhhuh , I was one of those kids from our age that comedy was everything. Okay. And back then you had three networks and you were just like, oh my God. You know, the, you know George Carlin is going to be on this show and you just get 10 minutes of it, you know? And so I always loved comedy and I always kind of loved the deep dive into comedy. And then, but so it, it always was kind of important to me. And then I went to the University of North Carolina and I majored my dad. You know, I come from an academic family, so I majored in anthropology and economics Uhhuh. But I was really interested in writing. Now my thing was, well, I didn't think that I should major in, you know, writing for screen, whatever, you know, whatever.(00:03:06): Because I kind of thought you learned by doing Uhhuh , and I wanted an academic degree. But what happened in college is that at Carolina, at the time, we had an incredibly bad communications department. Okay. It was so bad that I'm not making this up. They had equipment in the basement that students weren't allowed to use because they might break it. Yeah. Okay. Literally not allowed to use it. Okay. . So, but this these people who I knew started S T V Student television using cable access cuz they have to provide it and da da and Dave and I and our friend David Palmer, were just vultures and like, all these guys did really hard work. They got the campus to, you know, the university put up money and they got cable. And we just showed up and took all the cameras and, and filmed our stupid comedy show. Know, probably you're, you're familiar with Friday the 13th, the stage musical, and Bonnie and Clyde and Ted and Alice and, and Point and Wave you.Michael Jamin (00:04:12):And so you, I, this is obviously, cause I, I don't know this cause I haven't visited the Library of Congress re recentlyJohn Altschuler (00:04:18): Yes. With the Smithsonian.Michael Jamin (00:04:20):But, so with these, like, these were a single camera show that you acted, did you act in as well?John Altschuler (00:04:24):Oh yeah, yeah. It was me, Dave, Dave Krinsky, and this guy David Palmer. And we did a half hour comedy show just while we were, you know, in school. And then when we graduated, it was, I, I was like, well, I had an econ degree, which means, and not a graduate degree. I didn't. So it was kinda like, well, you go work as a teller in a bank, there's not much you could do. And I was like, you know what? I want to, I want to, I think I'm interested in writing. And my mom, who is, she passed away, like going to 99 years old. I I was like, I think I wanna do it. She goes, well, why wouldn't you? You know? And I was like, you know, go out to California. You're, you're young, you're stupid. If it doesn't work, you just come back.(00:05:06):There's no, and Amazon was like, oh, she's right. And so from North Carolina though, so graduated. Yeah. And what Dave and I did is we basically both worked service jobs in Chapel Hill to save up money to come to California. And in the interim, I had this idea, and actually it was a, it turned out to be a, a pretty important one is I was like, let's get published. Okay? Now, back then they had these things called books. Okay. You know, you didn't have the internet and you went to the library and it was a book called The Writer's Market. And it was, yeah, it was every magazine and what they're, you know, so we're looking up, you know, well, where could we get comedy stuff published? And there were only, there weren't many outlets. There was just, national Lampoon was the only national Humor magazine.(00:05:59):Playboy did humorous pieces. And then after that it was just porn because they were all trying to maintain First Amendment thread. So they would publish articles. So like, I remember there was like something called Nut Nugget and Smut in the Butt, . And we were like, okay, let's start with National Lampoon, and then when we get rejected, we'll end up hopefully getting published by Smut in the butt. Okay. So what happened, is that we start with National Lampoon. So I, I find them in the, the Writer's Query, and I mean, and the writer's market, and it says specifically National Lampoon does not accept any unsolicited material. Right? Okay. So now you probably know this about, I'm a little off the beaten path kinda guy. And so I'm like, well, you know, Dave and I had come up with a bunch of ideas. And so what I did was I put a letter together and explaining an incredibly snotty, sarcastic terms, how important you are at Nash Lampoon.(00:07:02):And, you know, your time is so valuable. So here I'm, I, I'm, I'm enclosing something for your time. And I enclosed a dollar bill with the letter Uhhuh . And, and I sent it to the managing editor Chris Simmons, and then his son Mad Simmons. No, mad Simmons was the, the managing editor. He, he invented the Diner's card. Okay. He invented the credit card. Right. And then bought National Ha as a large Wow. Mad Simmons, Chris Simmons and Ratso Sloman. So I sent it out the, and I swear to God I was, I, I worked, I delivered pizzas and worked at a Chinese restaurant as a waiter, and I got back from delivering pizzas. And this is like, we didn't even have an answering machine. Okay? This is like, we had no money or whatever. I get back my phones ring, and I, I remember it was about four in the afternoon, and I, I pick it up and I can I speak to John Altschuler and I go, this is, this is he?(00:08:01):And he goes, this is Matt Simmons? No, his rats, I think it was Rats told, you know, this is rats slow. And he goes, money talks . What have you got? . Okay. I'm be like, what is, I got your dollar beer bill right here. What have you got? And so, right off the bat, I just started pitching. And he goes, okay, okay. We, we had one idea about, there was this woman named Kathy, Evelyn Smith, who went to jail. She was the one who was with John Belushi when he overdosed. Okay. Okay. Now, he was a freaking drug addict. He was gonna die. Okay? But they blamed her because she supplied some drugs and da da da. And so the thesis of the article is that all she was getting out of prison, and Hollywood was terrified because of her, her abilities to make them do things they don't wanna do.(00:08:52):You know, like Richard Pryor says, she made me set fire to myself, freebasing. And they, and they're all like, so they liked that. So wrote that and it got published. Now, back then, national Lampoon was a big deal. Yeah. Animal House had ju had come out just a few years before National was vacation and Stripes. Mm-Hmm. all in a freaking row. So us being published by National Lampoon coming out Hollywood, it opened up huge doors. I mean, go ahead. No, I'm, I, I'm, I didn't know. I'm surprised. So what kind of doors did it open? Well, like, for example okay. So you can't be shy. Okay? It, it, it's simply nobody's gonna do it for you. As I sometimes tell kids, nobody wants you here. Nobody wants you to do, there's plenty of people doing and nobody's looking for. Let's get one more. Okay.(00:09:41):But I'd gotten the name of an agent at C a a, Lance Tendler, and Lance Tener was in the music and of ca but I didn't know anybody. Right? So I, I said, and you know, here's the thing. If you show some manners and take a little bit of time, it's a big, it's a big deal. So I sent him nice letter, explained, well, this is what we're trying to do. And he ended up giving it to a colleague, and the colleague said, well, I C A A was a, I mean, that's who where I am now after, you know, 30 years. But at the time, I mean, they were the biggest deal. Like, you know, nobody could get ripped by and blah, blah. But they offered to pass our material on, and one of the people they passed it on to was a producer named Neil Maritz.(00:10:26):Now Neil, Neil Maritz ended up producing all the Fast and Furious movies. Right? Okay. And he had not gotten a movie made yet, and so he loved National Lamp and he jumped on it. So our first producer was this guy Neil Maritz. And our first agent, no, no, he was a producer. Okay. The agent sent our stuff to him. Oh, I see, okay. And so that was kind of an in, and he was a hustler and kind of new. And so, and he is actually a nice guy. He really is. Like, he's, he's very Hollywood, but kind of in a way that you miss. But he wasn't, he wasn't a, he wasn't toxic. He was like a, a good sort that really wanted it to work out. And so that was our, our end. And then it's kind of funny because we were trying, okay.(00:11:18):We moved to Burbank, California, and Dave and I, my part, we, we got a a two bedroom, one bath apartment in the Valley, $625 a month, no air conditioning. Okay. Right. And I mean, it was freaking brutal , because, you know, you'd have Yes, I can imagine. Oh, yeah. You know, it'd be like a hundred degrees and a Yeah. You know and I worked room service up at Universal, and Dave was a bellman, and I finally got a connection after six months of being a PA on a movie. And that was like, huge, right? Like, oh my God. You know? So I'm a, I'm a pa and and what movie was that? It was called Miracle Mile. And the, it was not a good movie, but it was directed by a really nice guy, talented writer, g you know, actually some people like Miracle Mile, I don't know.(00:12:13):Not me. But but he was a good guy. His name is Steve Dejak. And he he ended up being like, I, I just sort of worked. And he, he was a good sort. But that led to being a pa on a movie called Tort Song Trilogy, which was produced by Howard Gottfried. Right. And Howard Gottfried produced network and altered states. And so there's something that Dave and I learned is that p I'm really cheap, okay? Because I came up with no money didn't have Wealthy f . It was all, I, I was on my own now, my parents were great, just didn't have money. Okay? So what I found is that writing is expensive, because if you're writing, you're not making money. Mm-Hmm. . Okay. And I figured out that every day to write cost me back then about 60 to 80 bucks because I could live on nothing.(00:13:11):Right. But I needed about 60, 80 bucks a day to get, you know, to, to survive. That's what I needed to make. And what I found is I would work these PA jobs, and I found that I could work for a month to write for a month. It was almost one to one. And it was interesting because when I was a interest, I've said that three times, it was interesting to me, you know, that when I was working as a pa I also tell the youngins this is that if you are a pa, just don't be insane. If you're an intern, don't be out of your mind, okay? Because if you are not crazy, and you make your boss's life that much easier, right? They love you. Yeah. I mean, they love you. And so all I did on Torch, on Trilogy is I made sure that Howard Gottfried always had a coffee cup in his hand.(00:14:02):I anything, if there was an errand there, be run, it was done like hours before it needed to be done. And I just did my job. And one time Howard was walking by and he goes, John, John, John, look, you don't wanna be a pa. What do you, what do you wanna be? I go, well, I wanna be a writer. He's like, well, I know something about writers, you know, because he was Patty CHAI's producer. He goes, let me read what you got. Okay? So I gave him something that we were working on, and it was interesting. It was interesting. He, he, he says, this isn't gonna sell Uhhuh. You write five, five scripts. He goes, if, if you write five scripts, you are going to sell it. And I swear to God, the fifth script sold, because you need to write, fail, write, fail, write, fail. And he read it and he goes, you know what? There's some stuff here you need to, he goes five times.Michael Jamin (00:14:56):Right.John Altschuler (00:14:57):That's what, that's what it took. And so that was the break was a, an idea that I had, it's something I'd read, read something in the, the Wall Street Journal, one of those things about like, you only use one-tenth of your brain power, right? And this idea was like, well, what if these scientists unlocked the other nine-tenths? But it didn't make you smart, it just made you this throbbing biological mess. You can hear everything and it bef while you're raining. And in't that was called Brain Man, right? And we sold that, and that was our entree into Hollywood.Michael Jamin (00:15:35):You see, one thing I wanna interrupt is that for the most people who were listening, they don't know this, but John is easily the most entrepreneurial writer that I know. Many writers. Like, he makes his own path. And so this is just, this is, okay. I'm not surprised at all that, I mean, but then, okay, so then you sold that. Then what, what happened after that?John Altschuler (00:15:53):Well, back then, back when dinosaurs roamed the earth, you literally could only work either TV or features Uhhuh. . Okay. Mo they were completely separate as a, and I just liked comedy. I liked it. Like I didn't care if it was, but that made no sense to anybody. Okay. They were like, no, no. And to the point where agents would get into fights mm-hmm. if a movie client did TV or Vice, because it was taking money out of their pocket. Right. You know, I gotta give, Ari was one of the early guys who was like, no, no, no, we gotta, we gotta, we need everybody. Everybody's gotta be working to bring money to me, . So, so we gotta share, you know? But it was very divided. So we started out with a, in the movie business, and, you know, we would, we would sell a pitch or every year, year and a half.(00:16:51):Yeah. You know, and just, we were just sort of hanging in there. And this was sort of odd. The phone again, is that I remember, okay. Got down to 92. Do, and this is about steering your own ship. Okay? Yeah. We got down to $92 and had a meeting with an a comedian called Pauly Shore. And Pauly Shore was a huge deal back then. He was a, you know, comedian and he had this character, the Weasel, and he was like and oddly enough, his manager was and his our manager now. Okay. So we go into this meeting and it was like, now if you knew Polly Shore, he is, this is Guy blah. And this is very eighties you know, it might have been 90, but whatever. So I had this idea, the Sound of Music, but instead of Julie Andrews, it's Poll Shore is the nanny to all these kids.(00:17:49):Okay? Very simple. Okay. So I just said, well, here's this idea. And the executive that knew I loved it, oh, go in. You gotta pitch, you gotta pitch Polly. Okay? So Dave and I go in to pitch Polly's Shore, and you know, I've actually heard he is a good guy. This, this was not . We, we go in and I, I, it was so vivid is that he kinda looks at it and he is like, well, I don't know Michael Rotenberg, that these guys kind of greasy. And like, you know, okay, I have this thing. We've had a very rough ride, is that I do my job, okay. I've had an executive while we're pitching, get up and leave the room. Mm-Hmm. I just keep pitching, okay. Because I'm gonna do my job. Okay. That's all I can control is what I do. So these guys are kind of greasy and just hear what they have to say.(00:18:39):So I go, sound of Music. So I've done it, and he is like, what sound of, why would I want the sound of Music? I don't know what that is. No, this I'm not doing a music video, man. I'm doing a movie. And, and I remember Rotenberg going, Polly, you know, sound of Music, okay, it's on every year, you know? And he is like, oh no. He like, ah, man, this is all I want, man. Is it? So I'm gonna go like in England, I might say like, Cheerio chap. And then like, maybe you send me to Germany and I'll maybe wear those funny leather pants and go, you know, Hey, hi. You know? And so we leave that meeting and it was just like, what the fuck? Yeah. It was just crazy . And we get, I, I check on the agent and she goes, they wanna hire you.(00:19:28):And I'm like, what? Now here's the thing. People have different views of careers. I've always believed that if I made one misstep my career's over, because I'm kind of a snob. So I'm kind of like, you know, well, you know, and I was sitting there going like, well, I know who does Polish Shore movies, okay. I can't be the guy who does Polys shore movies because I didn't drive, you know, in my car, didn't have air conditioning either, you know, across and work for three a three years as a pa break in to be that guy. Now I got nothing against it. There's a place in it. But I knew that I would never ever get out of that. Yeah, okay. Some people can, some people can then, you know, have Academy Award-winning careers, you know, but not me. I knew it. So I said, well, call the agent.(00:20:21):I don't wanna do it. And Agent turns, she says, don't worry. Okay, so what do you mean? Okay, what do I do? She says, I'm gonna ask for so much money that they'll pass. No problem. Cuz I, now, this was for New Line Cinema who, who I, and Dave and I literally moved the furniture into their offices. Okay. Wow. We were, when I was a PA for Georgetown Sure. It was for New Line. So we sort of know, knew these people, you know. And so we, I get, again, with the phone call, I get a phone call and I pick it up and it's a guy just starts yelling, who the fuck do you think you are? ? Who the fuck do you think? I'm like, well, wait, is this John? I'm like, yeah, who the fuck do you think you are passing on Polly Shore?(00:21:08):I'm like, we, we didn't pass on Polly Shore. He goes, oh yeah. Like, we're gonna pay you 400,000 fucking dollars. No fucking wait. You're gonna do it and you're gonna do it for what you should get paid. And I'm like we didn't do it. Okay. And I'm glad that we didn't do it because it would've been probably the end of who knows You, you, you make with whatever you, you do. But we ended up not doing it. And then went back to being a pa and I never had any doubts about it. But then what happened is an executive at H B O named Carolyn Strauss, who actually was a producer of game of Thrones, and she was the, the head of H B O for a, for a little while. And the, she was the head of their scripted, and, and she really liked a, a, a screenplay that Dave and I wrote.(00:22:01):Mm-Hmm. and she, she said, you know, Hey, would you consider working in television? And David, I like, yeah, nobody will let us, you know? And, and she's like, well, if you'll consider it, can I, there's a new show that H B O has with this writer, Adam Resnick. Now Adam Resnick, as I said, maybe the greatest guy I've ever met in Hollywood outside of Michael Jamin. He's, he's extremely funny, extremely talented, extremely nice. Okay. Everything you want. Okay. So we get on the phone with him and we basically talked about The Godfather for an hour, hour and 15. And we get off and, and you know, we only had one phone day. What do you think? He likes The Godfather. said, I like the Godfather. I think, you know, I don't know. And then they say, we get a call, he wants to hire us, and will you guys move to New York?(00:22:56):Now, this is the good thing about living below your means or at your means, is that we're like, well, yeah, we'll move to New York. And then they go, will you move in three days? Okay. And it's like, yeah. So literally locked the apartment in Burbank on the corner of Pass Avenue in Verdugo. And three days later we're in the Ed Sullivan Theater. It was produced by David Letterman. Right. So we were in the Letterman offices with an o overlooking Broadway three days later. Wow. And, you know and that was interesting because writing for TV was such a huge win for us because we'd written screenplays and sold screenplays, but nothing had been made. Right. You don't learn anything when things aren't made. Mm-Hmm. . So being, and also Adam was such a great, generous guy, and the staff was me, Dave, and this guy, Vince Calandra.(00:23:53):There was no staff. So we were allowed to do every, you know, everything, but you would see things that you think are written, well, not playing. And now it wasn't, it wasn't a com it was a con, it was comedic, but it wasn't a joke driven show by any stretch. But you, that was the high life, right? That was the high life. Yeah. But you learned by doing, it's all about doing. And I've told, you know, executive for years, if you wanna rewrite them, you don't hire a movie. You guy, you gotta hire TV guys, because like Dave and I have rerun, rewritten, run, probably 300 rewrites. Okay. That means you, you, you put it up there, you keep what matters. You lose what's screwing things up, and you gotta make it better. Okay. And I think we're particularly good at it of some people, the only way they know how to rewrite is by throwing everything away, which is a waste.(00:24:52):Right. It's, it's a waste of time and you lose good things. But if you want to have your movies rewritten, higher TV writers, because what Dave and I learned through working and TV is you just see it again and again and again. And I always tell people like, the most remarkable thing about comedy is that there is something that you like, you know, Dave and I ran King of the Hill for eight years, you know, and there were, there's both sides of it. Is that, you know, we're, we are the last decision makers, okay? So they're things that we are convinced are gonna kill. Okay. Thi this is so freaking funny, we can't wait. And so the table read happens. Mm-Hmm. And everybody, and you're, and you're not laughing . Okay. And you're like, what? Because you can't make yourself laugh. Yeah. You know, there, there's one guy who worked on King of the Hill, and he had this trick, he, he sort of very nice guy, but very political in a way that he knew how to go to make a laugh happen.(00:26:01):Mm-Hmm. , I think you learned that on SNL or something. You , you know, and that would, but you can't make yourself laugh. And then on the other hand, there'd be a joke that I would condescendingly agree to put on, you know, and Dave, shall We slum with this? And, and, and then the the roof comes off. Yeah. And you're like, you just don't know. It's, it's dark magic. I mean, that's part of magic. But did, no, you joined King, who, was it season two or one, were you Oh, season one. We, we, we, we came in during the first, you know, the, the first run, they were just, they, they, they had broadcast one or two episodes, but, you know, in animation. So we worked on episode three for all, you know, all through. And we're the , this is awful. But Dave and I we're the only ones who worked on that show, except for, I mean, the actors, 13 Seasons David are the only ones like beginning to, yeah. It's it was a lot.Michael Jamin (00:27:08):And tell me about, cause I was, I was there for it. But when you got the, when you guys got the bump to run the show, I mean, what, that was a big, that's a big step in any writer's career.John Altschuler (00:27:16):Well, you know what, what it boils down to is you should always be ready. Uhhuh , you just gotta be ready. And what happened, the wheels had come off King of the Hill for various reasons. And the episodes simply weren't the being delivered. It was, it was, they were gonna cancel the show. And w it was a very weird combination of we were working these incredibly long hours one time, like almost, I think we worked three days without going home one time, two and a half. AndMichael Jamin (00:27:47):I remember there were jack hammering in the lobby while we were trying to sleep in on the fourth floor. Oh yeah. You remember that?John Altschuler (00:27:54):Oh my God. Yeah. So it was just awful. And what Dave and I, we just wanted to go home. Yeah. So we just on our own with a few writers, let's go write an episode because there, it just wasn't happening. And so we wrote an episode and what's interesting is that the show was gonna be canceled and they had no choice because there was a script. We gotta do it. And it played great. Right? And so then, well, they needed another script and they needed another. And what happened, and this is because of Mike Judge, is that it, we were just doing it in the like, oh, let's go, let's go get it done. And it was so gratifying because we liked the show a lot. Yeah. We loved the show. And to see it go off the rails to get it moving again. And basically Mike Judge found out that we were writing all this scripts not by ourselves. Right. With all theri You were there, you know, with all the writers just putting, and they he just said, I'm not doing another year unless John and Dave are running the show. Now. We were very low on the totem pole. Okay. No,Michael Jamin (00:29:02):You were No, you were, you were, weJohn Altschuler (00:29:04):Were co-producers.Michael Jamin (00:29:04):You were co-producers at that point.John Altschuler (00:29:06):Yeah. Yeah. Okay. Believe me, I know. It turned in, it turned into a big problem with Fox because we saved the show. All we asked to take over and run it was to get paid what other people have been paid. And they're like, well, no, we'll give you a 15% bump from no producer. And you're just like, no.Michael Jamin (00:29:29):Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You could, whenever you want, I'm not gonna spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.John Altschuler (00:29:53):There. Apparently there's still animosity to us, cuz we were seen as arrogant mm-hmm. for that.Michael Jamin (00:29:58):Right. Well, you got paid, you gotta get paid, paid this suck guy.John Altschuler (00:30:02):Yeah.Michael Jamin (00:30:02):Yeah. You guys did it for many years and then they canceled the show. Then they, they brought it back and then you were back in charge of it again for the final circum excuses.John Altschuler (00:30:10):Well, yeah, yeah. So they, they kept, Dave and I kept it, kept it alive, is that they, they tried to cancel it two more times. Right. But we kept the, like we just, we always delivered the show on time and the ratings kept going up so they literally couldn't cancel it. They tried a total of three times. Yeah. And then it, there's something kind of interesting to us that a lot of people don't understand is that the last episode, one thing I always said, like, well you didn't do this, you didn't tie it up, you didn't do that. You didn't have, you know, these people there is that. I decided I'm not making the last episode. Okay. If this is the last episode, great. But we had been canceled. Right. The last two. So I'm like, I'm gonna make an episode. That could be the last episode, but I'm not the one putting the, I'm not gonna be the one who puts the, you know,Michael Jamin (00:31:05):Nail the coffin. Right. Because you wanna keep it goingJohn Altschuler (00:31:08):. Well, but I also didn't feel like that was the right thing to do is that, you know, we didn't create it Uhhuh, you know, and I was just like, you know and Mike was good with that. He would've been, he was okay with killing it, you know, he was like, you know, he was, you know, done. But I'm, I'm, yeah. So anyway, that, that was the run of King of the Hill. But what's great about doing that is by learning how to rewrite and also it was a three act show. It helped our movie writing dramatically. Yeah. And so while we were running King of the Hill, we wrote Blades of Glory and got that in production, which we, we simply wouldn't have had the skills Yep. To do it without all of that. The foundations from all those rewrites.Michael Jamin (00:31:57):I was just, I used telling people just the other day, if you wanna be a feature writer starting TV, so you learn Yes. Three act structure, you learn how to do it. And I said exactly what you said, you know, five minutes ago, which was we, we did, we sold the movie a couple movies and the exec said I wish all feature writers were as easy as TV writers. You know, because nothing's precious.John Altschuler (00:32:17):Nothing's precious.Michael Jamin (00:32:17):Rewrite it. Well, fine. Yeah. As long as I can check I'll rewrite it. You know. Well,John Altschuler (00:32:21):I always tell people like, it doesn't disappear, appear, put it to the side, it can always come back. Yeah. You know, be because, and if it co if it makes its way back fine but you don't care by then, you tend to like better. Cuz obstacles, you know how like people who don't have obstacles, you'll like, how'd that piece of shit get made? You know, or you know how it got made, but why is it so bad? It's cause you didn't have obstacles. Right. You always need people going, huh. What? Huh? Wait, because then you got to justify yourself and then you gotta bulletproof it and you gotta try harder. That's how something gets, gets good.Michael Jamin (00:32:59):Yeah. And then what, how did, how did Silicon Valley come about?John Altschuler (00:33:04):Silicon Valley happened because I was reading a book about Steve Jobs by Howard Isaacson. Okay. And I remember reading this book about Steve Jobs and there was this paragraph just a, and it was about Bill Gates making fun of Steve Jobs because the asshole can't even write code. And I'm sitting there, I was on a plane and I remember laughing, reading this going, that's freaking funny. The guy created the biggest brand name in the history of the world. Right. And there's some other guy going, what an asshole. You can't write code. And I was just like, well that's freaking funny. And so then I didn't even know really what writing code meant. Right. So I was like asked my brother who's an engineer and my brother-in-law is in an engineer. Everybody is engineers. And then, so I was like, well, there's something here.(00:33:58):Okay. And then we went up to Silicon Valley to do a little r and d cuz it's like, okay, there's something important here. Couldn't quite put my finger on it. And it was hilarious cuz I was able to get, we got meetings with these tech executives mm-hmm. . Okay. And three out of three said they want, look, we're not, we're not trying to make money. We're trying to make the world a better place. Mm-Hmm. we're just trying to make, and, and, and I was like, that's freaking funny. I remember telling Mike, I was like, Mike, this is, this is a freaking gold mine nobody. They just wanna make the world a better place. Yeah. One place that we, we we met with, they're not there anymore. That's when we, most of the things that you see through the first season, were just from that one trip because you're like, there was a guy number seven and you're like number seven.(00:34:51): And it turns out in Silicon Valley your importance was the lowest, how low your number was because that's how the number you were hired. Right. He was number seven at Microsoft. You know, whatever the hell it was, I don't, you know, so number sevens there. And then this company was, you know how, I can't even remember. I got, I'm sure I got the Snapchat gives you 15 seconds. Okay. We're gonna give you nine. Okay. And I remember going well, wait, so is less a proprietary concept? Absolutely. . They're like, okay, so your whole and these offices overlooked San Francisco Bay, they were fund on and they're pick being, we give you less. Right. and so you're like, well this is ripe for the taking. Yeah. Because self-important. You know, like the original pitch it was in there was like basically never a history of the world.(00:35:49):Have these guys been in charge? Yeah. You know, it's like nerd, you know, nerds in, in charge and there's an angry vibe, kind of an underlying insecurity, which is funny. You know, the, if, if you , when we went into production, the, the, the name of the you always have to have a holding company for a production. Right. And if you look at the end, it says, you know, s b H productions, that's the company that made Silicon Valley. It's because we were flying in and I, I looked down and I turned to my, I go, ah, the ship Brown Hills of Silicon Valley. And so when they, they said, what's the production name? I went, how about SB H productions and how funny. Yeah. So that was Silicon Valley. You know, one, one thing interesting about Silicon Valley I think was that we, we, Dave and I is, is, we met Thomas Middleditch, who was the star of it.(00:36:50):He had an animated show that we helped him with where he drew it and did all the voices. Oh, I good. Yeah. And so when we had this idea, I was like, well, let's write it for him. Okay. Because he was the right age. He was really heavy into gaming and we didn't know that age group, like kind of who, so we wrote it for him. As a matter of fact, the original name was Thomas Pecking of Richard's character because pecking is Thomas Mill ditches. Ma mom's maiden name pecking. Well, that's kind of funny. And so we wanted him, but HBO o didn't want him. Nobody wanted him. And I remember, you know, some thought, they thought, oh, he is too old or whatever. And I'm like, you know, I I tell you, you can't, you don't cast a 22 year old as a 22 year old these days.(00:37:43):He's gotta be older. So I remember he had like a full beard and we had like, we were doing casting. I said, Thomas shave the goddamn beard and get down there. And we, we kept running him up the flagpole and then every he was the best. Yeah. So, you know, so that, you know, that that was, and Silicon Valley was good because what not to, you know, that aren't we great? But we had done animated half hour, we had done live action features, you know, succeeded. This was live action tv. So we kind of like, okay guys, we've done it. You know, and which is, there aren't a lot of people who have succeeded in various moments, which it's inter to me, I often get asked like, well, what, what's, what's the, what's the length of, you know, this project and I don't care. Mm-Hmm. , if it's a half hour, you go, you, you make adjustments. If it's an hour, it, it's just, it's a, it's dr it's a dramatic concept. Right. If I got 15 minutes, I divide it up differently. Right. So we have the skills to do that if that from grinding it in these different arenas.Michael Jamin (00:39:00):Now how so, given that the industry's changed so much, so, you know, even since we, since both of us started, like what do you tell, what do you tell new writers? Or what, how do you see, like, how do you see making it now?John Altschuler (00:39:12):Yeah. That, that's tough because it's so different. It used to be, I would say easy to tell. Like I went, you know, to N C and I would say, well, go to la Just go to LA and start working. Because once you're working, you're around other creative people, you kind of, you know, you get in the mix a bit. You, you, you learn who's doing what. That's not LA's not LA anymore. You know, every people are in Atlanta, people are in New Mexico, PE every, everybody's spread out. Mm-Hmm. . So, and then the biggest difference is difference is that you would write a spec script just to show that like in TV or even in in features, you would write a feature script to sell. Right. For a million dollars. Okay. And there was such a hunger for the next big script that they were, oh my God, we were, nobody's officer NK Krinsky have a new speck.(00:40:08):And it's like, we haven't even got anything made. Okay. But they, they were like all on it. And then, or in TV you would write from a hit show, cheers, Seinfeld, you know, whatever in episode just to show what you could do. Cause everybody knew those shows. Right. So now you really can't write a spec because nobody sees any shows. I mean, I think Hill Silicon Valley's a hit. Right. And people have written specs of it, but most people haven't seen it. So you can't, you can't do that. You have to do original work. So the good and bad of the now is that you have to write an original pilot for tv. And actually, what I tell a lot of people starting to say, you gotta make something. Mm-Hmm. . Okay. And I, I'm not a fan of what, there are some really good examples of this, like insecure where Isa Ra makes her own stuff and then it transitions.(00:41:12):Okay. But what we've ended up with in general are, is a failure of craft, is that if everybody does, if you have to do everything mm-hmm. , the writing's not as good. The directing's not as good, everything's not as good. So there's a little bit of a sloppiness to the media a bit, but that doesn't necessarily mean it's worse. Mm-Hmm. . So I think now you gotta make something, you gotta either make a web series or do some pieces and put 'em out there. Yeah. So even if they're not seen at, unless you at least you have them and you can compile them and send them to somebody because nobody cat, sorry. Nobody knows what anything is. So you go, well here's my my pieces from my you know, reviewed on Collider or whatever. No. Nobody knows. Right. so, but you really gotta do it.Michael Jamin (00:42:12):Right. You gotta, you gotta put yourself on Hu Hustle. And, but I still think it's important to come to LA Cause I still think that this is where people are and you know, this is your, this, you, you get involved, you get, you have a graduating class of people. Yes. Whoever, whatever group you're in, that's your, that's the class you're in.John Altschuler (00:42:28):Well, I, I think you're right because now, but you're talking about writing specifically. Yes. Because Hollywood is still the brain center. Right. And this is where all the improv groups are and all that. So it's there for me, the MEU simply not there. Because what I always liked is that see, costume designers are talented and creative set designers are talented and creative. It, they used to all be around you. Now they can't afford to live in la Wow. So they live in Atlanta and the entry jobs are not as plentiful as they used to be. Like, I mean, they always wanted somebody to feed the beasts. Like, you could get a job as a pa, you could be an assistant that you could do, you know what you want. So that's a little different. But I do agree with you that if you're gonna live somewhere and you wanna write, LA is probably the best place to be.Michael Jamin (00:43:24):One thing I wanna mention is that even now, like I said, you're, you're so entrepreneurial, even now, it's like you don't wait for projects. So many people are like, oh, well, they're asking Hollywood for permission. Yeah. I make my script, read my script, you know, and even like now, you don't ask any anybody for permission. You're out there, you're getting, I know you're traveling to Europe to set some deals up. I'm like, you're constantly hustling for your next job. And look what you've done. You'd think that it would all f you know, nothing falls on your plate. You have to hustle for it,John Altschuler (00:43:53):You know? Yes. And the, you know, well, first of all, I'm, I'm more entertained by, by this I've moved a lot of the things that I'm doing and that David and I are doing to Europe mm-hmm. , you know, like for example, the Gangsters Guide to Sobriety, which you can see backwards. Okay. It was an idea that we could have sold as a, a pitch. And I was like, well, we already cracked it. Let's write it as a book. Because then everybody, ip ip, well then we own the ip. So now we, it's about this gangster and Irish gangster moved to America total re re drug addict dealer charming guy. It's very Scorsese like, but he basically got sober. And I liked all the stories of his horrid past, but I also liked his stories of getting clean. And so he kind of put those together.(00:44:51):It's like you go through 12 steps in aa. This has 12 chapters, so now we're long, we, we were going to do it in America. And then realize, you know what, he's Irish. Let's check out Ireland. Mm-Hmm. . And it's just a little bit fresher to have an Irish company backing us with Irish talent. Mm-Hmm. and doing it as a co-production. And so that's what we're doing in Italy. That's what we're doing in France. The I got the rights to this book, which you can see backwards burning down the house. Uhhuh , which is about the the pump movement in East Berlin before the fall of the wall. Right. And so I'm going to Germany in two weeks. Interesting. You know? Yeah. Because, you know, look, the fact is nobody's gonna do it for you. And the what I like about Europe is that you can talk about the projects more here. Issue one is always race. Issue two is gender identification is, then it's politic. And then, oh yeah. There's an idea in there somewhere. And that gets a little bit grinding when you just wanna talk about what, how cool this project is.Michael Jamin (00:46:06):I wanna mention by the way that your, that first book, the Gangsters Guide is based on a true story. So you had that guy. Yeah. And then, and it's like, that book is now available on Amazon. Everyone goes, check it out. Read it. It's, it's, it's fascinating.John Altschuler (00:46:18):So he, it, it, it's really great. And what's nice is that it's an elevating story, but it's, it, it's pretty damn harrowing. But it is, you know, you know, he survives. So there's a positivity to it. Like he says, like, I just want people to know because Ri Richie Stevens, who it's his life. Like I, I'm not telling anybody what to do. I don't have the answers. I just want them to know if somebody's fucked up as me, can survive and get clean and move on with his life. Anybody can,Michael Jamin (00:46:50):And these meetings in Europe, cuz you know, you're a writer, producer, but you're, you're, you're setting these up yourself. I mean, how are you reaching out to people?John Altschuler (00:46:57):You know what, here's the thing, luck, but also you just take what you have is that during the pandemic, for an odd reason, we ended up in Rome mm-hmm. . And because we, my wife's a psychologist. Our daughter was, hadn't gotten accepted to the school in high school, which Oh, that was great. And everything went freaking haywire, obviously. And so we're like, well, there's nothing going on here. Let's go to Rome. So we're in Rome and it's all locked down. Yeah. And somebody, oh, you should meet this woman Kissy Duggan. Now she was a standup comedian in la She's lived in Rome for over 20 years. She's married, has two kids. And and I connected with her and she started Women in film for Italy. Oh wow. And then I start kind of going, well wait, what's missing here? And I'm looking at Italy as a marketplace and I'm in it. Yeah. And people like me usually aren't there. Right. So people who go to Europe don't tend to have credits. They recognize. Yes. So it's, it it, well theyMichael Jamin (00:48:02):Recognize you. I mean No, not you. They recognize your work.John Altschuler (00:48:05):They recognize my work. Right. Yes. That's not who usually shows up. Right. Usually it's, it's people who have failed and are trying to go, oh. Whereas I'm going, you know what, what if we do this as an Italian American co-production? But Italy first, like I, these twins who I worked with a lot, one of them lived in bologna for seven years working in Tati. And his job was to come in and help turn Ducati. Right. Now, if you spend any time in Italy, it's, it's, it's wonderful and ridiculous because they are the most inefficient society ever and the most blessed. So you sit there and you go like, well, they gotta change, but they don't wanna change and they don't know how to change. Right. And that conflict makes for a really good comedic stew.Michael Jamin (00:48:58):Interesting.John Altschuler (00:48:59):So, you know, like we, we took a biotech project that was really ripe for America and we're like, you know what? We were, you know, while I was in Europe, went to London, met with this great company called Rough Cut. And he is like, it's biotech do it in Cambridge. So we're like, okay, let's set it in Cambridge cuz it's a little more, you know, sounds jaded, but we've kind of . It's not that we don't love doing stuff here, but we've done it. Right. You know, so it's kinda like, all right, well let's do another TV show here. Eh, this is all like, kind of fresh and fun. And also there's a real shortage of writers in Europe. Mm-Hmm. . So you're kinda like, okay. You know, it's just, it's just a fun vibe. Like why I like talking to students is why I like being in Europe is that there's kind of a, you're bringing people along for the ride. IsMichael Jamin (00:49:54):Krinsky going with you on this next trip?John Altschuler (00:49:56):He is not, you know, the, the, he, he is very tolerant of this is all just my crazy bo I get bored easily and Dave's just real like, ah, that sounds great. So yeah. Cause I kinda, it's sort of free moving, like, okay, I'm doing this, you know. But I would say that Dave is 105% supportive of my European adventures.Michael Jamin (00:50:26):So you have a lot of meetings set up then, basically.John Altschuler (00:50:28):Oh, yeah. Yeah. Like, I'm gonna be in Berlin for a week and then what's kind of nice about Europe is that the Italian company, they come to Berlin. There's the Bur Berlin Alley. It's a film, European film market in Berlin, then it's Venice, then it's Khan. Right. Rome and then the American Film Market. And so they just sort of, and that's how business is done. Right. So I'm meet, I work with this Luxembourg producer, Bernard Micheaux. He has a mo, he, he got two Academy Award nominations for documentary called Collective. That was great. And he's probably, there's a good chance he'll get an Academy Award nomination for his new movie Corsage Uhhuh . But it's all fun. Yeah. I mean, I know it sounds stupid, but you know, I didn't drive a car without air conditioning across the country and then work as a pa three years to be miserable. Right, right. And you know, we, we've, I don't know if this is untoward, Michael, but I've had this conversation where you, you do everything possible to figure out how to break into the business and then everything possible, figure out how to get outMichael Jamin (00:51:37):. Yes. That's, I mean, I've heard Yes, that's, yes. There's some truth to that . That's so funny. Wow. Wow. This is so interesting. So is there any other, any other advice you, you, you can share with people who are listening to this? I mean, I think you're so, he's such an interesting person to talk to. And like I said, you've been a great boss but a great friend over over the years. But it's because you also, like I said, have this entrepreneurial spirit where you're not doing it the way everyone else is doing necessarily. So,John Altschuler (00:52:08):Well, you know what, here's the thing. On one hand, being off the grid in my outlook has sometimes hurt Dave and I. Cause I kind of, I kind of lead, you know, and Dave is okay with that, you know. But as Dave points out, we wouldn't have anything if you didn't kind of like, well here's the even comedically you worked on King Hill with me. Everything has to be turned on its head. Okay. So if you, you, you got it. Everybody thinks this. Well no, let's do that. Right. And to me, that's the essence of comedy. That's the epi essence of drama. One of the problems I have with entertainment now is that there's this weird belief that everybody, that there's a right and a wrong and , I'm always go, everything's wrong. You know, you think those, you think this is good. Guess what? Oh, you think it's bad? Guess what? Throwing curve balls. Right. which is what I like to see. I like being surprised.Michael Jamin (00:53:09):Yeah.John Altschuler (00:53:09):So now, so the only advice I have is that it's what you always hear. You go, well write, write what you know, what the hell is right. What you know me Well now more than ever, it has to be specific. It has to be your story. Mm-Hmm. your journey. It's the only thing that you own. Yeah. Is your mindset and your experience. So you mine that. Now Jeremy, you probably had to listen to, you know, I talk and like every, like one time my judge goes, we got 150 episodes outta what pisses John Al Schuler off. And it's kinda true. HeMichael Jamin (00:53:49):Say that .John Altschuler (00:53:50):Yeah. He's like, because I'd sit there and I'd go, you know what veterinarians, they piss me off. And so I funnel my experience of taking my cat and them going WellMichael Jamin (00:54:03):That's so funny that he said that. But, but, but that was your, that's always been your take. It's your even on, even on Lopez, when we work together, it's it's like your, your take on what's going on in society. It was like, and, and the absurdity and that,John Altschuler (00:54:16):Well, everything, everything absurd. Cuz people, like, sometimes the the tone of what we do doesn't make sense to people. Because if you read just the synopsis of King Hill episodes, they'd sound, someone would sound pretty horrible. Uhhuh , they'd sound like offensive. But we're not in the offensive business. Okay. We're in the entertainment business. And so if there is a message, it's gotta be at least two or three levels deep. Yeah. You know, that's another problem is that people are coming out swinging with like, well this is my episode, this is my series about racism being bad. Uhhuh . Well that means that you're under the impression that there is a large population that thinks racism is good. Right. Okay. Well that's cuz you don't know anything. Like I lived in a trailer park and actually I have a whole, we have a project to imagined based on when I was 15, I lived in a mobile home that I owned by myself.(00:55:19):And I didn't see how the other half lived. I lived how the other half lived. And guess what, they're not a bunch of racist, horrible people that are gonna shoot. Now, they may shoot you , but there's, but there's a good and bad to them, to them running around with guns is then you start going, you know what, there's a human experience that is universal. And one of the problems is everybody these days has their team. And I don't like teams. You know, I, I I really hate teams. I don't think, you know, liberals like they drive me fucking nuts. Mm-Hmm. right wing. Like I like And it's, this used to be the job of comedy is that you're supposed to make fun of power. Yeah. Okay. Right. Well, you know, it's like, you know, the Matt and Trey from South Park, the, they're really nice and they're really great guys. Cause they're like, yeah, you probably get asked a lot, what side are you on? Mm-Hmm. . And it's like, I'm on the side of comedy. Right. It's not like comedy is a religion to me. I think it matters. I think it has to be cared for. And when I see people thinking that comedy means getting an applause line on a late night show, cuz you go Trump mad, that's not comedy. Right. You know, you gotta work.Michael Jamin (00:56:37):Interesting. That's wonderful. What? Yeah, I mean, I even Lopez, season two, it was, it was all about his quest for relevance. And we're like, what does that even mean,John Altschuler (00:56:47):? Well you, but you know what it, what it meant to me was everybody's trying, like, the world changed. Okay. Yeah. And he, he, there he is like 60 years old or whatever, and the world changed. And he was relevant because he existed. Right. Okay. And you were on tv, it was like, Seinfeld. Why did people watch? Cause it's on tv. Okay. Then relevance. Relevance became this phrase where Well, okay, but what's rel because there was no other metric. Right? There weren't, there weren't ratings, there weren't, people weren't, these companies weren't trying to make money. It was all about relevance. Yeah. So, if you remember, that was part of the, the comedy of nobody knows what relevance means yet. That's what was driving everybody.Michael Jamin (00:57:31):Yeah. We had fun that season. That was fun. Really was a great,John Altschuler (00:57:34):Okay. Well, well to your Michael Jamin is not only him and his partner Sievert, they're pros. Okay. Now, what is a pro and a pro is somebody who has the skills to do whatever you want them to do. Okay. So if you want something hacky and crappy and they're working for you, right. They'll do it. They'll do a really good version of it. But if you don't want something hacking and crappy, they can do that. They have the skills to do what you want. So you guys have always been a delight to work with, but also specifically on the set because you, you're, you know that you're quick. Yeah. You're quick. And it, the, the interesting thing, cuz I'm like, you guys, when I work for other people, they're the boss. Yes. I have no problem with that. I have no problem. As a matter of fact, my wife is like, like if I could work for myself, I would a hundred percent do it.(00:58:33):Cause then I wouldn't have the headaches of running things. But in our business, you often work for assholes who are unhappy and don't wanna go home to their wives. So you're, you're, you're, you're stuck. But you guys are always great because, you know, you have the skills, you're funniest shit. But we never, we always knew eight, you don't, you're not gonna try to e stab us in the back, but if it had to be done, you were gonna get it done. Yeah. So professionalism is key. But you, you guys wrote one of my favorite scripts ever, which was theMichael Jamin (00:59:08):What wasJohn Altschuler (00:59:08):That? The of the, the the garden. Now if you read that, you should, you should reread it because you did not understand how good it was. I remember, I remember you turning it in like, and, and you know, everybody's self-effacing when they turn something in. Right. But you were like, eh, you know, you and Steve were like, and if you reread that, you could be nothing but proud because it's like Anir story. Yeah. And it just builds and builds to the point where Bobby and Hank have murdered this thing. They gotta cover it up, but it's beautifully written.Michael Jamin (00:59:48):And Hank is selling out his son. .John Altschuler (00:59:51):. Exactly. You know, but you, you took him along for the ride. So yeah, no, you guys are, you, you're, you're truly, I don't know, pros, IMichael Jamin (01:00:02):Say this, I say this a lot. It's like the job of anybody who's not the job of showrunners is the hardest job there is. And it's stressful. And so everyone else is, my opinion of everyone else's job is to make the best version of the show that the showrunner wants to make. Right. And everything else is subjective. But who's to say it's better or worse? It doesn't matter. Your job is to serve the showman. They get to decide and, and great. It works out great if you can, as soon as you can accept that you'll be happy.John Altschuler (01:00:28):Well, and, and that was one of the big problems in our industry, is that nobody knows how shows get on the air. Mm-Hmm. . So they don't realize that when you get right down to it, if you are gonna hire somebody, all that matters is the showrunner. Right. Cause there are great writers, but you don't know how the script got there. So many people have gotten good jobs off of scripts that Dave and I had to write from beginning to end, but our name's not on it.Michael Jamin (01:01:01):You know, I I've heard that complaint from other store runners on other shows as well. So you're not, soJohn Altschuler (01:01:05):What happens is, like, remember everybody off of Seinfeld got these huge deals, but all that matters is Larry David, you know, and it was like, you know, the, and the the other thing that's kind of funny is that we would be asked to do a lot of writers round tables. Okay. Where, you know, big, big comedians, a big movies. And they'd ask, and they'd get tables together where you go through the script and pitch jokes on 'em. Okay. And they, Hey, do you know some good people that you could bring in? I'd go, well, yeah. And I one, this was literally the, the, my response and the answers like, well, do you want the guys and the girls the every literally, cause we had a lot of women, they're like, do you want the people who actually can deliver? Or do you want names? Mm-Hmm. . Oh, we want namesMichael Jamin (01:01:51):. He said that to you.John Altschuler (01:01:54):Yes. It's like all they want is to go, whoa. Yeah, we got, we got Neil Simon. Yeah. We've got the ghost of William Faulkner. We've got, you know, they, they don't want people to actually nail it because, so the inside of a staff is, it's inside baseball that nobody really knows what's going on.Michael Jamin (01:02:15):It's funny you say that. Oh no. Oh, it's so heartbreaking. John Altschuler (01:02:20):. It's a tough, ugly business.Michael Jamin (01:02:22):It really is. Well, that's a good place to end. John it. Thank you so much. Let's plug your book again so that people can go out and get it on Amazon. There it is Backwards.John Altschuler (01:02:32):The Gangsters Guide to Sobriety My Life in 12 Steps.Michael Jamin (01:02:36):Yep. Go out and run it. I gotta copy you in my house. Was great. So yeah, John, thank you again so much. It's and I'll see, you can tell k Crisco I'm gonna have from on next at some point just to, so we get the, the other version of the story.John Altschuler (01:02:48):Yeah, exactly. What, what he said. What?Michael Jamin (01:02:50):Yeah. . Why would he say that? . All right man. Thank you so much everyone. Thank you. It was a fun episode. Thank you for listening. And yeah, until the next week. Thanks so much. Bye-Bye.Phil Hudson (01:03:02):This has been an episode of Screenwriters. Need to Hear This with Michael Jamin. If you'd like to support this podcast, please consider subscribing, leaving your review and sharing this podcast with someone who needs to hear today's subject. For free daily screenwriting tips, follow Michael on Instagram, Facebook, and TikTok @MichaelJaminWriter. You can follow me on Instagram, Facebook, and TikTok at @PhilAHudson. This episode was produced by Phil Hudson and edited by Dallas Crane. Until next time, keep writing.

EXCLUSIVE Talkline With Zev Brenner with Chabad Rabbi Sholom Krinsky of Lithuania on his wife's criminal prosecution by the authorities for a failing Chabad school and their ongoing struggle with the Community. This podcast has been graciously sponsored by JewishPodcasts.fm. There is much overhead to maintain this service so please help us continue our goal of helping Jewish lecturers become podcasters and support us with a donation: https://thechesedfund.com/jewishpodcasts/donate

Former federal prosecutor Renato Mariotti, a partner at Bryan Cave Leighton Paisner, discusses the criminal charges against FTX founder Sam Bankman-Fried.Securities law expert Robert Heim, a partner at Tarter, Krinsky & Drogin, discusses the SEC and CFTC cases against Bankman Fried.Business restructuring expert Jim Baer, president of CMBG Advisors, discusses the bankruptcy of FTX.June Grasso hosts.See omnystudio.com/listener for privacy information.

Former federal prosecutor Renato Mariotti, a partner at Bryan Cave Leighton Paisner, discusses the criminal charges against FTX founder Sam Bankman-Fried.Securities law expert Robert Heim, a partner at Tarter, Krinsky & Drogin, discusses the SEC and CFTC cases against Bankman Fried.Business restructuring expert Jim Baer, president of CMBG Advisors, discusses the bankruptcy of FTX.June Grasso hosts.See omnystudio.com/listener for privacy information.

On the 122nd episode of the GreatBase Tennis podcast, Steve Smith had a conversation with Julian Krinsky and his wife, Tina. Starting in the late 70's, Julian founded the Julian Krinsky School of Tennis (JKST) in Philadelphia. JKST evolved into Julian Krinsky Camps and Programs (JKCP); which became one of the largest and most diversified summer camps in the US. Julian's  tennis business runs on year round basis and is conducted on college campuses as well as two indoor clubs he owns.Julian grew up in Johannesburg, South Africa and excelled in the classroom and the courts. He won medals at the Maccabiah Games in tennis representing South African in 1969 and medals representing the United States in squash in 1981. In tennis, he traveled the international circuit and played both Wimbledon and the French Open.According to Steve, "Julian is a world-class pied piper and throughout his career hit tons of home runs in the kid business. He should be at the top of the list for anyone seeking advice on owning and operating any type of camp."

Following the primary elections, reformers were braced for setbacks in the reform prosecutor movement – but a strange thing happened this November, that set back never came. Everyday Injustice spoke with Miriam Krinsky of Fair and Just Prosecution. She discussed the formation of her organization, and why she believed that reform prosecutors fared much better than expected in the midterm elections. We also discussed her book, Change From Within: Reimagining the 21st-Century Prosecutor. Krinsky described how the book came together and the stories that the 13 elected prosecutors told about their background and how they became reformers. Despite a tough environment this year for reforms, the big picture, as Krinsky describes is one of progress and expansion of the movement. Krinsky explained how in just over five years, we have gone from a handful of reform prosecutors, to having reform prosecutors representing huge swaths of the population. She believes that the public now understands that the carceral system is broken and support many of the reform policies.

Miriam Aroni Krinsky worked as a prosecutor in Los Angeles County in the 1980s and 1990s as the War on Drugs was waged. Mandatory minimum sentences and tough-on-crime laws sent prison populations soaring and ripped apart families and communities. Krinsky believed that change was needed–and that it could come from prosecutors themselves.  In 2016, she tells the ABA Journal's Lee Rawles, there was enough of a political movement behind the idea of reform prosecutors that the nonprofit Fair and Just Prosecution was founded to help elected local prosecutors promote "a justice system grounded in fairness, equity, compassion and fiscal responsibility." Krinsky became its executive director. Over the course of two years, Krinsky interviewed 13 elected prosecutors from a variety of different backgrounds who share the dream of reforming the criminal justice system. These oral histories were then paired with portraits of those prosecutors created by formerly incarcerated artists thanks to a partnership with Mural Arts Philadelphia. It became the bookChange From Within: Reimagining the 21st-Century Prosecutor. In this episode, Krinsky discusses insights from the election cycles FJP has observed; the difficulty of producing a book like Change From Within during the COVID-19 pandemic; and some of her favorite anecdotes she learned from the prosecutors she interviewed. She also responds to critics of the concept of reform prosecutors from both the tough-on-crime advocates and abolitionists who object to the carceral system entirely. Krinsky explains how prosecutors' discretionary power can be used to avert injustice in the system, and urges young lawyers and law students to consider that career path in addition to public defense positions to battle injustice.

Miriam Aroni Krinsky worked as a prosecutor in Los Angeles County in the 1980s and 1990s as the War on Drugs was waged. Mandatory minimum sentences and tough-on-crime laws sent prison populations soaring and ripped apart families and communities. Krinsky believed that change was needed–and that it could come from prosecutors themselves.  In 2016, she tells the ABA Journal's Lee Rawles, there was enough of a political movement behind the idea of reform prosecutors that the nonprofit Fair and Just Prosecution was founded to help elected local prosecutors promote "a justice system grounded in fairness, equity, compassion and fiscal responsibility." Krinsky became its executive director. Over the course of two years, Krinsky interviewed 13 elected prosecutors from a variety of different backgrounds who share the dream of reforming the criminal justice system. These oral histories were then paired with portraits of those prosecutors created by formerly incarcerated artists thanks to a partnership with Mural Arts Philadelphia. It became the bookChange From Within: Reimagining the 21st-Century Prosecutor. In this episode, Krinsky discusses insights from the election cycles FJP has observed; the difficulty of producing a book like Change From Within during the COVID-19 pandemic; and some of her favorite anecdotes she learned from the prosecutors she interviewed. She also responds to critics of the concept of reform prosecutors from both the tough-on-crime advocates and abolitionists who object to the carceral system entirely. Krinsky explains how prosecutors' discretionary power can be used to avert injustice in the system, and urges young lawyers and law students to consider that career path in addition to public defense positions to battle injustice.

Miriam Aroni Krinsky worked as a prosecutor in Los Angeles County in the 1980s and 1990s as the War on Drugs was waged. Mandatory minimum sentences and tough-on-crime laws sent prison populations soaring and ripped apart families and communities. Krinsky believed that change was needed–and that it could come from prosecutors themselves.  In 2016, she tells the ABA Journal's Lee Rawles, there was enough of a political movement behind the idea of reform prosecutors that the nonprofit Fair and Just Prosecution was founded to help elected local prosecutors promote "a justice system grounded in fairness, equity, compassion and fiscal responsibility." Krinsky became its executive director. Over the course of two years, Krinsky interviewed 13 elected prosecutors from a variety of different backgrounds who share the dream of reforming the criminal justice system. These oral histories were then paired with portraits of those prosecutors created by formerly incarcerated artists thanks to a partnership with Mural Arts Philadelphia. It became the bookChange From Within: Reimagining the 21st-Century Prosecutor. In this episode, Krinsky discusses insights from the election cycles FJP has observed; the difficulty of producing a book like Change From Within during the COVID-19 pandemic; and some of her favorite anecdotes she learned from the prosecutors she interviewed. She also responds to critics of the concept of reform prosecutors from both the tough-on-crime advocates and abolitionists who object to the carceral system entirely. Krinsky explains how prosecutors' discretionary power can be used to avert injustice in the system, and urges young lawyers and law students to consider that career path in addition to public defense positions to battle injustice.

The Complex Sneakers Podcast is co-hosted by Joe La Puma, Brendan Dunne, and Matt Welty. This week they are joined by Reebok CEO Todd Krinsky, who started out in the sneaker brand's mailroom and worked his way up to the top of the company. Krinsky relives Reebok's sneaker wars in the ‘90s, the mega endorsement deals with Jay-Z and 50 Cent, its bid at signing LeBron James, and more. Also, the cohosts touch on Odell Beckham Jr.'s lawsuit against Nike and their favorite holiday-themed sneakers. Hosted on Acast. See acast.com/privacy for more information.

Beryl and Dina dish about their childhood food experiences, being fearless entrepreneurs, and their roles as mentors in the dietetics profession. Beryl Krinsky is the Founder of B.Komplete (https://bkomplete.com/), a corporate wellness firm that offers a variety of onsite and virtual services for companies to enable their employees the tools they need to better manage their health conditions and to achieve optimal wellness, and the Komplete Business Dietetic Internship (https://kbdinternship.com/), a program that provides direction, support, organization, management, research, development, and education to future Registered Dietitian Nutritionists. Beryl herself is a Registered Dietitian Nutritionist and entrepreneur with a Master of Science in Food Science and a Master of Business Administration in Food Marketing. She volunteers for the New Jersey Academy of Nutrition and Dietetics as a State Media Representative, and for Accreditation Council for Education in Nutrition and Dietetics (ACEND) as a Dietetic Educational Program Reviewer. Beryl is passionate about living a healthy and balanced lifestyle and loves yoga, walking, hiking, biking, cooking, meditation, spending time outdoors, and always learning. Find and follow Beryl's companies on Instagram at https://www.instagram.com/bkomplete/ and https://www.instagram.com/kbdinternship/. If you enjoyed this podcast, please subscribe, leave a review, and share it with others! You can also submit listener feedback or request to be a guest on a future episode by completing this form: https://forms.gle/7UZ2kEPDHjBgLhRU9. Help support this podcast for as little as $0.99/month: https://anchor.fm/dishwithdina/support --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/dishwithdina/support

What do celebrities William Hung and Miko Hughes have in common? They both played in the 2022 Vegas Market Celebrity Poker Tournament hosted by Ante4Autism. The annual fundraiser, founded by Doug Krinsky in 2009, has raised over 1 million dollars to date. This year, celebrities and industry veterans alike played alongside one another to help raise almost $140,000. The winner, American Idol celebrity, William Hung (known for the infamous rendition of Ricky Martin's "She Bangs!" song from Season 3) walked away the ultimate champion of the event. Other celebrities included Miko Hughes, Jose Conseco, Dennis Haskins, Erik Seidel, and more. Ante4Autism exists to provide needed support and resources for individuals and families affected by autism. As of 2022, 1 in 44 individuals will be diagnosed with autism. The funds raised at this year's event went to five major charities, including the national charity, Autism Speaks. Listen or watch now to get an in-depth review on all the players, the antics and an update on Brooklyn Bedding! --- Send in a voice message: https://anchor.fm/mattresspodcast/message

Doug is a 40 year veteran of the mattress industry and the organizer of Anti 4 Autism Event in Vegas Nevada. This summer's event will be the 14th Annual Event.  

Richie Stephens became an alcoholic and a petty criminal as a teenager growing up in Ireland. He became a drug addict and then a drug trafficker as his life spiraled out of control. The Irishman eventually ended up in San Francisco where he joined a Chinese gang. He nearly ended his own life before realizing that his addiction was at the heart of his self-destructive ways. A journey to sobriety and a trip down the state of California to Hollywood led to Richie Stephens becoming an actor where today (of course) he often plays criminals. Stephens tells the incredible story of his life with co-authors John Altschuler and Dave Krinsky in the new book "The Gangster's Guide to Sobriety: My Life in 12 Steps."The coming together of the authors and the writing of the book is an incredible story in and of itself. It's now being developed as a TV series. That's because Altschuler and Krinsky are successful Hollywood writers and producers known for creating and running high-profile TV shows including creating the successful series Silicon Valley. During this podcast, Altschuler and Stephens tell that story along with tales from Stephens' life and lessons learned on Stephens' path to sobriety. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Today we speak with Dr. Carol Krinsky, Professor of Art History at New York University, in our second Declassified Perspectives conversation - our final episode of the season! Get bona fide answers and advice from Professor Krinsky on Episode 11 of Declassified. About Professor Krinsky: Dr. Carol Krinsky is a Professor of Art History in New York University's Department of Art History and the Institute of Fine Arts. She received her Ph.D. and a Master's from NYU's Institute of Fine Arts, as well as a B.A. at Smith College, where she studied art and architectural history. Her areas of research include 20th-century architecture and 15th-century painting. Professor Krinsky has earned many awards for her research and books, but also for her teaching including honors from Phi Beta Kappa, Fulbright and the National Endowment for the Arts and a Distinguished Teaching of Art History Award from the College Art Association. She has written several books and in countless publications, which will be listed as further reading on our website. Definitions, links and more resources on www.declassified.com/krinsky & IG @declassified.pod. See you next season!

Haley is on vacation so producer Harry and Ciara join Jordan in her absence. We ask a number of Louisville-related questions we were never able to ask for some reason, talk about some recent rumors of NBA expansion, and Jordan checks in with Ciara and Harry about the Warriors. Finally, Ciara and Jordan help Harry pick a W team to root for! Learn more about your ad choices. Visit podcastchoices.com/adchoices

By the count of some advocacy groups, more than half of U.S. states will likely ban abortion if Roe v. Wade is stricken down, and 12 of those already have such laws on the books—just waiting for a Supreme Court ruling to activate them."If in fact we see our highest court in the land wipe away 50 years of settled precedent and deem Roe v. Wade to be 'egregiously wrong,' the balance is going to shift to the state courts," Miriam Krinsky, the executive director of the advocacy group Fair and Just Prosecution, observed on the latest episode of Law&Crime's podcast "Objections: with Adam Klasfeld."A longtime former prosecutor, Krinsky has been gathering dozens of elected district attorneys and attorneys general from coast to coast who have vowed not to enforce any laws criminalizing abortion. That list, by her organization's count, has grown to nearly 70 elected prosecutors to date."I think we're going to see elected local prosecutors become the last line of defense in many instances, and seeking to use their settled discretion to protect these kinds of decisions—and refuse to bring them into the criminal legal system," Krinsky said.In this episode, Krinsky describes organizing elected DAs and describes how state courts will become key battlegrounds if the leaked draft Supreme Court opinion overturn Roe resembles its final form.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The possibility of American life without federal abortion rights puts a spotlight on state prosecutors. “These elected prosecutors are going to become the last line of defense,” Miriam Krinsky said of a potential post-Roe world. Krinsky, head of reform group Fair and Just Prosecution, discussed the issue on the latest Cases and Controversies episode with Bloomberg Law's Jordan Rubin. “This is simply a draft,” Krinsky emphasized, referring to Justice Samuel Alito's proposed opinion circulated within the court earlier this year and published this week by Politico. But if the draft becomes law and states turn their attention toward criminalizing people involved in abortions, then prosecutors will have the discretion not to pursue charges, Krinsky said. She and other former prosecutors and law enforcement leaders filed an amicus brief supporting the clinic in the Mississippi appeal whose opinion was leaked, Dobbs v. Jackson Women's Health. “The notion of limited criminal-justice resources being used for these kinds of investigations and arrests and prosecutions, this should horrify any prosecutor or law enforcement leader that this is what we want to be spending our time on,” Krinsky said on the podcast. Do you have feedback on this episode of Cases & Controversies? Give us a call and leave a voicemail at 703-341-3690.

Chaya Krinsky is the Co-owner of #TOV Furniture. After a career as a preschool teacher, Chaya was impacted by the big recession and motivated to do something different. Designing and selling furniture became her passion and her lifeline. After years of success and attending the biggest furniture trade shows in the country, she realized there was a disparity between white and black furniture designers. This wasn't due to a lack of ability, but a lack of resources and companies giving the opportunity. Speaking with many interior designers at the Super Bowl of furniture, High Point Market, Chaya decided to give black designers a literal seat at the Tov Table. The result is a six BLACK designer-created collection called The VOICE Collection. We talked to Chaya Krinsky about The VOICE Collection, her career as a furniture designer and Owner of TOV, and how she has kicked in the door for furniture designers of all races. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/suavv/message

PGX Pharmacists Series line-up 1/28/22, Dan Krinsky, BS, MS, RPh, FAPhA 2/11/22, Sue Paul, RPh 2/25/22, Mariam S. Yasin, student (PharmD and MS PGX Candidate) 3/11/22, Jamie Wilkey, PharmD Read the full show notes at https://www.thepharmacistsvoice.com/podcast Daniel Krinsky is an entrepreneur and pharmacist who is passionate about advancing patient care and the pharmacy profession. He recently started two businesses whose respective missions and visions are focused on each of these areas. The first business, PGx101, is directed towards educating healthcare providers in the area of pharmacogenomics and personalized medicine. The second, EduCare4U, is focused on patient, student and healthcare provider education and enhancing patient care. Mr. Krinsky is currently an Adjunct Professor at the LECOM School of Pharmacy, serving as a course director, lecturer, and student advisor. Mr. Krinsky's areas of expertise include community pharmacy practice, drug information, patient counseling and education, OTCs, natural products, and developing and implementing medication therapy and disease state management programs. Mentioned in this episode Dan Krinsky, BS, MS, RPh, FAPhA | LinkedIn  EduCare4U website PGX101 website EduCare4U, LLC: Overview | LinkedIn PGx101: Overview | LinkedIn PGX101 Facebook Page Medipreneurs The Pharmacist's Voice Podcast Episode 3 with guest Tom Titkemeier, RPh St. Vincent (St. V's) Medical Center Toledo, OH  The University of Toledo (UT) College of Pharmacy (Toledo, OH) AJHP American Journal of Health-System Pharmacy Auburn University Harrison School of Pharmacy  Kaiser Permanente Lexicomp Ohio Northern University College of Pharmacy Natural Therapeutics Pocket Guide Drug Nutrient Depletion Handbook NACDS NEOMED College of Pharmacy Sue Paul, RPh Switch by Chip and Dan Heath Pharmacy Today Palm Beach Atlantic University Gregory School of Pharmacy PGX101 Training February 26 and 27, 2022 Thank you for listening to episode 133 of The Pharmacist's Voice ® Podcast! Subscribe to or Follow The Pharmacist's Voice Podcast! Apple Podcasts Google Podcasts Spotify Amazon/Audible Highlights from the interview Dan and I met at Medipreneurs in Asheville, NC.  We have a mutual acquaintance:  my Uncle Tom Titkemeier (see The Pharmacist's Voice Podcast Episode 3).  Dan was one of Uncle Tom and Aunt Janet's interns at St. V's in Toledo while attending pharmacy school at The University of Toledo College of Pharmacy. We discussed the chronological progression of Dan's career.  Why did Dan pick pharmacy school?  His Dad's best friend was a community pharmacist.  Dan wanted to go into healthcare and own his own business, so he decided to go to pharmacy school.  Dan went to grad school at UT.  He got a MS Degree in Hospital Pharmacy.  The focus was on teaching and research.  After graduating from UT with his MS Degree, Dan left Toledo for a job developing clinical services in NC.  It didn't work out.  He moved on to another job, which he discovered by searching the “Help Wanted” ads in AJHP (American Journal of Hospital Pharmacy).  A position for a clinical coordinator for the pharmacokinetics service at the University of Alabama Hospital in Birmingham was advertised.  Although Dan felt unqualified, he ended up joining the Drug Resource Team at the University of Alabama Hospital in Birmingham as the coordinator for the pharmacokinetics service.  He expanded the volume of consults the role formerly served.  Dan also taught Auburn Pharmacy Students.  It was a good experience, but he was on-call all the time.  The stress and time commitment weren't right for him and his family, so he and his family moved back to Ohio.   Dan then worked for Kaiser Permanente and made his first connection to Lexicomp while there.  Lexicomp has been part of Dan's life ever since.  In the mid 1990's, Dan became the 1st pharmacist in the US to hold a shared position with a college of pharmacy and a community pharmacy:  Ohio Northern University College (ONU) of Pharmacy and Ritzman Pharmacy.  Dan provided MTM services at Ritzman's before MTM had a name!  Since his time at ONU, Dan has helped NACDS replicate the shared position he had at ONU.  Today, there are hundreds of shared positions in the US. Dan co-authored 2 books on natural products for Lexicomp.  They are Natural Therapeutics Pocket Guide Drug-Induced Nutrient Depletion Handbook Dan left Ritzman's Pharmacy and went to work at Lexicomp. Lexicomp felt like a family.  It had a great company culture with company outings to Cedar Point and more.   Dan developed a RX Wiki resource.   Dan held a shared faculty position with NEOMED and Giant Eagle.  When Dan left that position, he could have retired, but he didn't!  Instead, he co-founded PGX101 and founded EduCare4U. How did Dan get into PGX?  He took the Test2Learn™️ Train the Trainer PGX Course so he could develop a PGX elective course at NEOMED and incorporate PGX into therapeutics models.  The Test2Learn™️ program was developed in conjunction with the University of Pittsburgh and NACDS (National Association of Chain Drug Stores).  According to Dan, The University of Pittsburgh is a national leader in PGX research and practice.  What came out of it was meeting Sue Paul, RPh and later spreading the word about PGX to the pharmacy profession to improve the care pharmacists provide to patients.  Sue Paul, RPh and Dan Krinsky train pharmacists on PGX.  They update the PGX101 program every time they deliver it. The profession of pharmacy has given so much to Dan that he wants to give something back.  Education is one way to give back and pay it forward.   Being good listeners (a sounding board for patients) allows us to find out how we can help our patients.  Pharmacists are the most accessible healthcare providers and the most knowledgeable on drug therapies and deprescribing. Dan shared a story about visiting a patient at home.  Dan said, “Home visits are eye-opening.  You learn about your patients.”  We talked about tools to help patients help themselves, such as motivational interviewing and cognitive behavioral therapy.  Pharmacogenomics in Dan's own words:  Applying a patient's genetic make-up to current and future drug therapies.  PGX is a tool that can lead to better outcomes. How do PGX101 students find out about the program?  LinkedIn, networking, podcasts, conferences (Medipreneurs), and organizations (APhA and OPA).   Is PGX 101 in-person or online?  It is only online using Zoom (as of January 2022).  There are two components:  15 modules for 12 hours of CE.  8 hours of live programming:  4 hours on Saturday, 4 hours on Sunday.  To learn more, visit PGX101 online. How much does PGX101 cost?  $495 for all 20 hours.  Consider it an investment in education. PGX201 is a growing community “Beyond the Certificate.”  Membership is 3 months or 12 months.  Benefits include monthly webinars and newsletters, one-on-one consultations with Sue Paul and Dan Krinsky, guest speakers, and more.  Carol Bell, PharmD (KY Pharmacist) is working on a PGX Pharmacists Registry.  According to Dan, a Kentucky teacher's retirement program provides PGX testing as a benefit for their plan.  The ROI has been demonstrated in the form of direct economic benefits.  This can serve as a model for other organizations to follow.  I suggested that this is a “bright spot” ala the book Switch: How to Change Things When Change is Hard by Chip and Dan Heath. EduCare4U is the umbrella company for all the services Dan offers.  Examples: Individual consultations with patients, some of whom have PGX testing. Writing.  For example, a monthly column for Pharmacy Today on self-care and OTC's.   Consulting.  For example:  monograph reviews for Lexicomp. Surgery center inspections Expert witness for attorneys Part-time work in two pharmacies in his area Guest lecturer at the Palm Beach Atlantic University Gregory School of Pharmacy   We spoke about Dan's expert witness role.  The first time he served this role was early in his career while working in Alabama.  The first attorney Dan helped recommended Dan do more expert witness work.  Dan told a story about an intense deposition that took hours.  Dan serves as a pharmacist on medical mission trips to Honduras each year with his local Catholic Church.  He has been doing it for 17 years, and he loves it.  Dan got started with his mission work by covering for a pharmacist who got sick and had to drop out of the trip.   Who was on the Mission Trip?  High school students who serve as Spanish-language interpreters, doctors, dentists, nurses, optometrists, pharmacists, and others who want to serve.  They see 3,000-4,000 patients in one week and dispense 15,000-20,000 prescriptions. Dan gave advice for Pharmacist Dads:  Have a career, but be present for family.  Always prioritize your family first.  Dan wanted to be present for milestones, coaching his kids, attending events, going on vacations, and taking his wife out for their anniversary.  “You never get those moments back.” Dan said, “Career is important, but pharmacy will always be there.” Thank you for listening to episode 133 of The Pharmacist's Voice ® Podcast!

In honor of Chaf Beit Shvat, the Lubavitcher Rebbes wife, Rebbitzen Chaya Mushka's 34th Yahrtzeit, we are honored to share an incredible conversation with Rabbi Yehuda Krinsky, with a glimpse of the behind the scenes life of the Rebbe and Rebbetzin and the lessons we can take from them.  Rabbi Yehuda Krinsky , was born in Boston, Massachusetts. In 1946 he began his studies at the Lubavitch Yeshiva in New York where, shortly before his marriage, he received his rabbinical ordination.  In 1957, Rabbi Krinsky was appointed to the secretariat of the Lubavitcher Rebbe. The Rebbe later appointed him as secretary and officer of his three umbrella Chabad-Lubavitch organizations: Machne Israel, Merkos L'inyonei Chinuch and Agudas Chabad. He now serves as Chairman of the Board. Rabbi Krinsky also served as spokesman for the Rebbe and the Lubavitch movement, and editor of the Lubavitch News Service. As personal driver for the Rebbe, he had the unique distinction of spending hundreds of hours alone with the Rebbe. In 1988, the Rebbe appointed him as the sole executor of his will. In 2007,  Newsweek Magazine named Rabbi Krinsky to the top of a list of “America's top 50 Rabbis.”Rabbi Krinsky lives in Brooklyn, New York.Leave a review on apple, or email Rivkahandeda@gmail.com for feedback. 

Health Coach Rivkah Krinsky shares her journey and philosophy towards healthy living. She also demonstrates how to prepare a healthy treat. Recipe for Two Layer Chocolate Fruit Bites: Layer 1: 1/ cup oats 1 cup medjool dates 3/4 cup raw almonds 1/4 cup cocoa powder Blend oats, dates, cocoa powder and nuts in food processor until combined. Mixture should be sticky. If not, add more dates. Press into a 10 x 7 inch dish. Layer 2: 1 banana 4 Tablespoons almond butter 3 Tablespoons maple syrup or honey 1/4 cup cocoa powder Blend the second layer and pour over the date layer. Topping: 1/2 cup pomegranate arils 1/2 cup pumpkin seeds Sprinkle with seeds and arils and freeze. Find more great recipes at revivewithrivkah.com!

The Ante4autism Texas Hold'em tournament in Las Vegas was founded in 2009 by Doug Krinsky and is now held at the Golden Nugget each January. Doug and his wife Kelly Krinsky founded Beat Autism Now, Inc. a 501 C 3 not for profit organization, in 2008. The Ante4autism event is now part of Beat Autism Now as the main event conducted every year. There is now a Host Committee of 12 individuals from across the country that help organize and run the Ante4autism event each year. Ante4autism was started to raise awareness about Autism and raise money within the home furnishings industry, to help support the needs of the families impacted by Autism. As of February 2020 they have raised $854,917. The proceeds of the event are now donated back to five Autism related charities each year. Ante4Autism has donated to national autism advocacy groups such as Autism Speaks as well as local organizations like the National Autism Association Southeast Ohio chapter. Each charity has their own unique identity. They do many great things to help the families impacted by Autism, such as research into the best therapies and grants to families to help pay for medical expenses.

This week we sat down with Beryl Krinsky who is an inspiring leader in the Dietetics profession. She speaks about her broad experiences and jobs. Most interesting to students is the internship that she founded. Beryl shares her experience starting a Business DI from the ground up. Settle in as there is so much great info in this episode!

In the third episode of the Discussions with DPIC podcast's Rethinking Public Safety series, Miriam Krinskyspeaks with DPIC Senior Director of Research and Special Projects Ngozi Ndulue about her experiences as a former federal prosecutor and the Executive Director of Fair and Just Prosecution (FJP), a network of elected prosecutors devoted to promoting fairness, equity, compassion, and fiscal responsibility in the criminal legal system. Krinsky and Ndulue explore a range of issues during the podcast, including the injustice of the death penalty, the power of prosecutors to create change, the evolving relationship between prosecutors and law enforcement, the importance of transparency and public accountability, and myths about public safety. “In my mind,” Krinsky says, “eliminating capital punishment improves public safety.”

My guest today is Adam Krinsky a Mixer/Engineer in Minneapolis, MN. He owns and runs a studio in St. Paul, MN called Bellows. In his 15 years of music, he has been a Producer, Engineer, Mixer, FOH Mixer, Tour Manager, Manager, and Educator.  Adam's career started after graduating from the Institute of Production and Recording in Minneapolis. He was hired by the owner and co-founder Tom Tucker as his assistant engineer at Master Mix Studios. In parallel to working in a big fancy studio, he was also moonlighting in a small punk rock basement studio called Vaudeville. A million dollar studio during the day, a Mackie and 57's at night. Krinsky started working at a local guitar shop called Twin Town Guitars which is where he met many of the local musicians.  In 2006 he recorded and mixed an album called A Detail of Soldiers by The Alarmists which received local recognition. Since he has never been without a project to mix. Over the years Adam has worked on albums for artists like Bo Ramsey, Mason Jennings, The Pines, Kill The Vultures, Sadistik, and Peter Wolf Crier to name a few. These artists range in genre's from Blues and Folk to Hip-Hop to Indie Rock.  Somewhere along the way, he was asked to go on the road. Reluctantly he eventually tried it out and found a second passion in touring. He's since mixed FOH for artists like Iris DeMent, Mason Jennings, Har Mar Superstar, Marijuana Deathsquads, The Pines, and Trampled by Turtles to name a few. He has also taught at a few recording schools and was a field mixer for the 6th Season of Jersey Shore. These days Krinsky is either mixing in his studio or on tour with Trampled by Turtles. Thanks so much to Evan Bakke for making our introduction! Get access to FREE mixing mini-course: http://MixMasterBundle.com THANKS TO OUR SPONSORS! https://RecordingStudioRockstars.com/Academy Use code ROCKSTAR to get 10% https://JZmic.com Use coupon ROCKSTARS to get 20% off The Pop Filter https://www.Spectra1964.com http://MacSales.com/Rockstars http://iZotope.com/Rockstars use code ROCK10 for 10% off https://carltatzdesign.com/Mixroom-Mentor http://UltimateMixingMasterclass.com Hear guests discography on Spotify: https://open.spotify.com/playlist/71uDzwTG14iEN7SrrGGEdo?si=bdf5ac9fb3144505 If you love the podcast, then please leave a review: https://RSRockstars.com/Review CLICK HERE FOR COMPLETE SHOW NOTES AT: http://RSRockstars.com/307

In this episode, Cara sits down with TOV Founder + CEO Chaya Krinsky to chat furniture strategies. They cover everything from selecting furniture pieces, how to be bold with trying trends, furniture care, and a peak inside the furniture industry in terms of trends and design. Chaya also discusses her experience in taking a male dominated industry by storm and how she shows up powerfully when people underestimate her. You can download this episode from Apple Podcasts, Google Podcasts, Stitcher, and Spotify – or listen to it below! listen now .icon-3-1 img{height:50px;width:50px;opacity:1;-moz-box-shadow:0px 0px 0px 0 ;-webkit-box-shadow:0px 0px 0px 0 ;box-shadow:0px 0px 0px 0 ;padding:px;}.icon-3-1 .aps-icon-tooltip:before{border-color:#000} .icon-3-2 img{height:50px;width:50px;opacity:1;-moz-box-shadow:0px 0px 0px 0 ;-webkit-box-shadow:0px 0px 0px 0 ;box-shadow:0px 0px 0px 0 ;padding:px;}.icon-3-2 .aps-icon-tooltip:before{border-color:#000} .icon-3-3 img{height:50px;width:50px;opacity:1;-moz-box-shadow:0px 0px 0px 0 ;-webkit-box-shadow:0px 0px 0px 0 ;box-shadow:0px 0px 0px 0 ;padding:px;}.icon-3-3 .aps-icon-tooltip:before{border-color:#000} .icon-3-4 img{height:50px;width:50px;opacity:1;-moz-box-shadow:0px 0px 0px 0 ;-webkit-box-shadow:0px 0px 0px 0 ;box-shadow:0px 0px 0px 0 ;padding:px;}.icon-3-4 .aps-icon-tooltip:before{border-color:#000} .icon-3-5 img{height:50px;width:50px;opacity:1;-moz-box-shadow:0px 0px 0px 0 ;-webkit-box-shadow:0px 0px 0px 0 ;box-shadow:0px 0px 0px 0 ;padding:px;}.icon-3-5 .aps-icon-tooltip:before{border-color:#000} .icon-3-6 img{height:50px;width:50px;opacity:1;-moz-box-shadow:0px 0px 0px 0 ;-webkit-box-shadow:0px 0px 0px 0 ;box-shadow:0px 0px 0px 0 ;padding:px;}.icon-3-6 .aps-icon-tooltip:before{border-color:#000} .icon-3-7 img{height:50px;width:50px;opacity:1;-moz-box-shadow:0px 0px 0px 0 ;-webkit-box-shadow:0px 0px 0px 0 ;box-shadow:0px 0px 0px 0 ;padding:px;}.icon-3-7 .aps-icon-tooltip:before{border-color:#000} .icon-3-8 img{height:50px;width:50px;opacity:1;-moz-box-shadow:0px 0px 0px 0 ;-webkit-box-shadow:0px 0px 0px 0 ;box-shadow:0px 0px 0px 0 ;padding:px;}.icon-3-8 .aps-icon-tooltip:before{border-color:#000}

Erik Feldman, a professor at the University of Pennsylvania Law School, discusses the American father-son duo charged with orchestrating former Nissan Chairman Carlos Ghosn's dramatic escape from Japan, pleading guilty in a Tokyo court. Securities attorney Robert Heim, a partner at Tarter, Krinsky & Drogan, discusses why the SEC is being urged to tread carefully as it considers toughening rules that allow corporate executives to regularly unload stock through scheduling plans. Robert Iafolla, Bloomberg Law Reporter, discusses a judge dismissing a workers' lawsuit over Covid-19 vaccine mandates, the first to weigh in on the issue. June Grasso hosts. Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

Check out B.Komplete and KBDi here: ● https://bkomplete.com ● https://kbdinternship.com/ ● https://www.facebook.com/bkomplete/ ● https://www.facebook.com/KBDInternship ● https://www.instagram.com/kbdinternship ● https://www.instagram.com/bkomplete/ ● https://www.youtube.com/channel/UC33emK0usURhwONCpvSx4-w -------------------------------------------------------------- Resources AND Information for Students: https://www.eatrightpro.org/acend/students-and-advancing-education/information-for-students 2024 Grad Degree AND: https://www.eatrightpro.org/acend/program-directors/program-directors-faqs/2024-graduate-degree-requirement Grad Degree CDR Info: https://www.cdrnet.org/graduatedegree Starting a Private Practice: First 5 Steps: https://mydietitianjourney.wordpress.com/2020/12/01/starting-a-private-practice-first-5-steps/ AND Scholarships: https://www.eatrightfoundation.org/why-it-matters/scholarships/ -------------------------------------------------------------- ● https://porrazzanutrition.com ● https://www.facebook.com/MyDietitianJourney ● https://www.instagram.com/mydietitianjourney/ ● https://mydietitianjourney.wordpress.com/ -------------------------------------------------------------- Felicia Porrazza is a registered and licensed dietitian with a masters degree in dietetics administration, an ACSM certified personal trainer, National Board Certified Health & Wellness Coach, college nutrition faculty instructor, and owner of Porrazza Nutrition LLC and My Dietitian Journey. In her private practice, she works one-on-one with clients to help them develop an understanding of healthy eating and fitness. She specializes in combining plant-based eating with fitness programs, specifically targeting beginner strength-training. Felicia has been a mentor to Dietitians starting their own private practice and a dietetic internship preceptor for Dietetic students. Beryl Krinsky is a successful Entrepreneur, who is a Registered Dietitian Nutritionist with a Master of Science in Food Science and a Master of Business Administration in Food Marketing. Beryl had over 10 years of corporate experience with nutrition and food companies prior to launching her first business, B.Komplete. B.Komplete is a Corporate Wellness Firm that offers holistic onsite and virtual services for corporations, to enable individuals and corporations to better manage health conditions and to achieve optimal wellness. Beryl is proud to employ an experienced and dedicated team of wellness professionals, including Registered Dietitian Nutritionists, Yoga and Pilates Instructors, Massage Therapists, Personal Trainers, Registered Nurses, Phlebotomists and Licensed Acupuncturists, who represent the B.Komplete brand and bring our services to life. With her passion for wellness and education, Beryl has launched a second business, the Komplete Business Dietetic Internship. This accredited program teaches future nutrition professionals the steps to become Registered Dietitians with business acumen. Beryl is passionate about living a healthy and balanced lifestyle and loves her family and friends. She is active and enjoys yoga, walking, biking, hiking, cooking, meditation, time outdoors, animals, and always learning.

Erik Feldman, a professor at the University of Pennsylvania Law School, discusses the American father-son duo charged with orchestrating former Nissan Chairman Carlos Ghosn's dramatic escape from Japan, pleading guilty in a Tokyo court. Securities attorney Robert Heim, a partner at Tarter, Krinsky & Drogan, discusses why the SEC is being urged to tread carefully as it considers toughening rules that allow corporate executives to regularly unload stock through scheduling plans. Robert Iafolla, Bloomberg Law Reporter, discusses a judge dismissing a workers' lawsuit over Covid-19 vaccine mandates, the first to weigh in on the issue. June Grasso hosts.

Today I share my conversation with my close friend of almost 18 years, Rabbi Sarah Krinsky of Adas Israel in Washington D.C. Topics Discussed Collective trauma Connecting and leading a community during the pandemic Moving between sacred spaces Jewish practice of Mussar Knowing who we are vs. changing who we are The desire to be accepted Holding space and entering into someone else's trauma Guilt from self-care Discovering yourself and opening yourself up in partnership Getting comfortable with uncertainty and letting go of control The concept of divinity and "source" Links https://www.instagram.com/sykrinsky/ (Sarah's Instagram) https://www.facebook.com/sarahykrinsky (Sarah's Facebook) https://www.adasisrael.org/ (Adas Israel Congregation) https://bookshop.org/books/a-visit-from-the-goon-squad/9780307477477 (A Visit From the Goon Squad by Jennifer Egan) https://mussarinstitute.org/ (The Mussar Institute) Link to my https://www.instagram.com/marisatashman/ (Instagram), https://www.marisatashman.com/ (photography website), https://www.undefinedpodcast.com/ (podcast website), and https://www.patreon.com/undefinedpodcast (Patreon). As always, thank you to https://www.instagram.com/goodcompanymgmt/ (Maytav Koter) and https://moseycreative.com/ (Spencer Stewart) for the music on my podcast. And to https://www.instagram.com/llllll.aura/ (Laura Strohbusch) for the podcast graphic.

Today's topic is something we can all relate to: What is the future of working from home? What does it mean if your company is considering or has called a permanent end to the office space and a return to telecommuting or working directly from your living room? We address: Working whenever, wherever while having time with your family whenever, wherever Leading a productive virtual workforce Maintaining a drama-free workplace The future of the workplace in a post-COVID world Creating an effective culture in the remote work environment in 2021 and beyond Karen Morales welcomes Bob Krinsky, CEO of The Kriskey Company, a healthcare strategy consultancy that he has always run from home alongside a remote team. Bob has worked in dozens of companies around the world. He has led over 100 strategy engagements for Philips Healthcare worldwide; co-lead a 3-yr. marketing transformation for IDEXX Labs; and delivered over a dozen growth strategy engagements for Quest Diagnostics. Over the past few years, Bob has partnered with Bain & Company to deliver a growth strategy engagement initiated by Intuit CEO Scott Cook. Bob began his consulting career with IdeaScope in 1987. Based in Boston and San Francisco, he focused its practice on growth strategy and corporate innovation. In today's episode, we pick Bob's brain to discover best practices on how to make working from home an efficient arrangement for all of us, both during times of lockdown and in the new normal. We help professionals of every background understand how they can thrive at work, grow a business, and be a happy and engaged worker no matter where they sit. 3 MAJOR POINTS DISCUSSED Bob's number one vital sign for living a life of freedom and purpose is that rare feeling of simultaneously living life to the fullest while working toward something worth accomplishing. He calls this “coexisting”, where one is engaged in work that they are passionate about while having the time flexibility to work from wherever they prefer to work and be with family at the same time. Even if you have the opportunity to work from anywhere, make it a point to separate the place where you do your work from the place you do not engage in work. Additionally, understand the circumstances during which you are the most productive. If you are a morning person, do work at your designated place only in the morning. Same goes for if you are a night person. With a little organization and a set of boundaries, you can take the power of working from anywhere even further than you ever thought possible. Remote work is here to stay. The key to thriving in the new normal is to become purposeful and optimistic about the new way of doing work. Just because you may no longer be spending regular face-to-face time with your team members does not mean that productivity, accountability, or communication needs to suffer. Create a system and stick to it. RESOURCES The Krinsky Company The Krinsky Company on LinkedIn   Bob Krinsky is the CEO of The Kriskey Company, a healthcare strategy consultancy that he has always run from home alongside a remote team. Bob has worked in dozens of companies around the world. He has led over 100 strategy engagements for Philips Healthcare worldwide; co-lead a 3-yr. marketing transformation for IDEXX Labs; and delivered over a dozen growth strategy engagements for Quest Diagnostics.   Over the past few years, Bob has partnered with Bain & Company to deliver a growth strategy engagement initiated by Intuit CEO Scott Cook. Bob began his consulting career with IdeaScope in 1987. Based in Boston and San Francisco, he focused its practice on growth strategy and corporate innovation.   (415) 310-3776 bob@thekrinskyco.com   Karen Morales is founder and brand champion at Marketing Magnet. Marketing Magnet was founded by Karen and her lean team of Fortune 500 marketing and advertising talent. We're a world-class marketing department that has decided to take our big brand experience and direct it at the clients we want to serve: purpose-driven enterprises. Our secret sauce is our ability to focus companies on three marketing pillars to create great impact. If you are looking for a solution to a marketing challenge, a specific project to be completed or a team to drive marketing on your behalf, we can help. More about Karen Find us on Facebook Visit our website Find us on Instagram

Twin Toddlerhood + Twin Toddler Tips.  Toddlerhood is definitely a challenging phase in any mother's journey, but imagine double that challenge with two little humans the same age! Get ready to laugh & nod your head along with this episode as we dive into whether certain aspects f toddlerhood are easier or harder with two vs. one baby and Darcy shares her TOP TIPS for this stage of twin motherhood! Even if you're not a twin mom, you'll want to tune in because Darcy's tips and tails of motherhood will make you smile, feel a bit lighter, and realize that YOU CAN DO THIS! XOXO, Lauren Listen. Subscribe. Share.  . . . Show Notes: Want to connect with Darcy? Follow her @thetwinmomhustle on Instagram Interested in checking out Higher Ground Fitness & Lagree? Check out their website highergroundfit.com and follow them on Instagram @highergroundfitness Come over and hang with me on Instagram:@lauren_francois Today's show is sponsored by my favorite product line and fitness/nutrition regimen! Taking care of YOU FIRST is a non-negotiable if you want to thrive and energize your new motherhood journey.  You can't pour from an empty cup.  Self care isn't selfish, it's essential!  When you feel your very best, that impacts every other area of your life, especially your mothering.  Ready to make your fitness & nutrition a priority in your life with simple, easy to follow 30 minute at home workouts/programs (that's right, you don't even have to leave your house because we all know how tough that can be with babies), balanced nutrition programs (no diets here), and an online community of amazing women to hold you accountable? Pssst….it's way cheaper than a gym membership & I've been helping women get results that last for the past 5.5 years with this method! Email me at laurenffrancois@gmail.com for details. Wanna do a 1-on-1 coaching session with me? From 30 minute power calls to weekly and monthly packages ranging on topics from motherhood to self care/fitness/nutrition to helping you increase your productivity, set, map out, & accomplish goals, and create new habits to help you thrive and energize your journey, there's an option for you! Click here & complete the form! Become a Mom Hacks Podcast Insider & be the first to receive news on new episodes, products, and exciting announcements!  https://tinyurl.com/themomhackspodcast

Are you a TWIN momma or pregnant with twins?  I know my fair share of twin moms and in talking with them it's clear that twin pregnancy and motherhood comes with it's own unique set of challenges.  That's why I asked my friend and twin mom of toddler boys, Darcy Krinsky, to come on the show and talk all things twin motherhood! In this episode, we dive right into twin PREGNANCY, and 5 myths that come along with it, so listen up! Even if you're not a twin mom, Darcy's tips and tails of motherhood will make smile, feel a bit lighter, and realize that YOU CAN DO THIS! XOXO, Lauren Listen. Subscribe. Share.  . . . Show Notes: Want to connect with Darcy? Follow her @thetwinmomhustle on Instagram Interested in checking out Higher Ground Fitness & Lagree? Check out their website highergroundfit.com and follow them on Instagram @highergroundfitness Table for Two Feeding System HALO Bassinest Twin Sleeper Come over and hang with me on Instagram:@lauren_francois Today's show is sponsored by my favorite product line and fitness/nutrition regimen! Taking care of YOU FIRST is a non-negotiable if you want to thrive and energize your new motherhood journey.  You can't pour from an empty cup.  Self care isn't selfish, it's essential!  When you feel your very best, that impacts every other area of your life, especially your mothering.  Ready to make your fitness & nutrition a priority in your life with simple, easy to follow 30 minute at home workouts/programs (that's right, you don't even have to leave your house because we all know how tough that can be with babies), balanced nutrition programs (no diets here), and an online community of amazing women to hold you accountable? Pssst….it's way cheaper than a gym membership & I've been helping women get results that last for the past 5.5 years with this method! Email me at laurenffrancois@gmail.com for details. Wanna do a 1-on-1 coaching session with me? From 30 minute power calls to weekly and monthly packages ranging on topics from motherhood to self care/fitness/nutrition to helping you increase your productivity, set, map out, & accomplish goals, and create new habits to help you thrive and energize your journey, there's an option for you! Click here & complete the form! Become a Mom Hacks Podcast Insider & be the first to receive news on new episodes, products, and exciting announcements!  https://tinyurl.com/themomhackspodcast

Artisan Bakehouse Owner, Levy Krinsky started the bakery several years ago after a bread-making hobby, while working in real estate, turned into a full-time gig. Krinsky wanted to utilize the front of his store which has a simple decor along with a long “L” shaped bar. His goal was to open a cafe that specializes in the finest homemade breads topped with the finest ingredients. And so the cafe was born. In this interview Levi shares: Developing your hobby Running a commercial bakery Opening a restaurant Managing two businesses Introducing authentic Italian Pizza to NY Social Media Marketing The trials of a new business

It is possible that you did not know that you need a comprehensive labor market analysis of the New York City Parks Department, but John Krinsky and Maud Simonet, in their new book, Who Cleans the Park? Public Works and Urban Governance in New York City (University of Chicago Press, 2017), show that you do. Join us as we talk with Krinsky about what this wildly segmented labor force tells us about work, workers, and workplaces today (not to mention race, sexual harassment, and real estate). The answer to “Who Cleans the Park?” is, in fact, much more complicated — and much more important — than you might think. Stephen Pimpare is Senior Lecturer in the Politics and Society Program and Faculty Fellow at the Carsey School of Public Policy at the University of New Hampshire. He is the author of The New Victorians (New Press, 2004), A People's History of Poverty in America (New Press, 2008), winner of the Michael Harrington Award, and Ghettos, Tramps and Welfare Queens: Down and Out on the Silver Screen (Oxford University Press, 2017). Learn more about your ad choices. Visit megaphone.fm/adchoices

Talking the talk with Leah Krinsky.This episode is brought to you by Harold Ramis Film School, Quip Toothbrush (www.getquip.com/PARDO), Blue Apron (www.blueapron.com/NEVER), and SeatGeek.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.