Podcasts about La Cienega

In this last part of our conversation with Jann Karam, Lisa and Jann share their struggles of competing in the new market of comedy and getting yourself out their. They share their future goals as well as what got them to become a comedian in the first place. This episode includes a little homage to Margaret Smith, Paula Poundstone and Brian Reagan"RECLINING NUDE on LA CIENEGA" The art of standup comedyhttps://youtu.be/vh3oIyMeB5U?si=6Bgwey1oLcxKhLDq➡️ Jann Karam SOCIALShttps://www.jannkaram.com/https://www.youtube.com/@UCmzESpy7KQXGi28R7byGp0Q https://www.instagram.com/jannkaramcomedianhttps://www.tiktok.com/@jannkaramLeave a comment!

Michael Monks fills in for Amy on this Thursday Wake Up Call. The show starts with Michael speaking with Kathryn Barger, a member of the Los Angeles County Board of Supervisors for the 5th District, to discuss board expansio, her views for the future of LA County, and the 2028 Olympics. Michael speaks on local landmarks facing possible irreversible change including the NORMS on La Cienega and Marilyn Monroe's House. The show weaps with Michael digging nto Amy's archives and revisits her interview with the authors of 'The Joy of Costco: A Treasure Hunt from A to Z.' 

Another day, another fire. This time in Canyon Crest in Fontana. Norm's Restaurant on La Cienega may become a Raising Cane's. Christmas decorations stolen from business in Long Beach

On this episode, we do our first deep dive into the John Landis filmography, to talk about one of his lesser celebrated film, the 1985 Jeff Goldblum/Michelle Pfeiffer morbid comedy Into the Night. ----more---- TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   Long time listeners to this show know that I am not the biggest fan of John Landis, the person. I've spoken about Landis, and especially about his irresponsibility and seeming callousness when it comes to the helicopter accident on the set of his segment for the 1983 film The Twilight Zone which took the lives of actors Vic Morrow, Myca Dinh Le and Renee Shin-Yi Chen, enough where I don't wish to rehash it once again.   But when one does a podcast that celebrates the movies of the 1980s, every once in a while, one is going to have to talk about John Landis and his movies. He did direct eight movies, one documentary and a segment in an anthology film during the decade, and several of them, both before and after the 1982 helicopter accident, are actually pretty good films.   For this episode, we're going to talk about one of his lesser known and celebrated films from the decade, despite its stacked cast.   We're talking about 1985's Into the Night.   But, as always, before we get to Into the Night, some backstory.   John David Landis was born in Chicago in 1950, but his family moved to Los Angeles when he was four months old. While he grew up in the City of Angels, he still considers himself a Chicagoan, which is an important factoid to point out a little later in his life.   After graduating from high school in 1968, Landis got his first job in the film industry the way many a young man and woman did in those days: through the mail room at a major studio, his being Twentieth Century-Fox. He wasn't all that fond of the mail room. Even since he had seen The  7th Voyage of Sinbad at the age of eight, he knew he wanted to be a filmmaker, and you're not going to become a filmmaker in the mail room. By chance, he would get a job as a production assistant on the Clint Eastwood/Telly Savalas World War II comedy/drama Kelly's Heroes, despite the fact that the film would be shooting in Yugoslavia. During the shoot, he would become friendly with the film's co-stars Don Rickles and Donald Sutherland. When the assistant director on the film got sick and had to go back to the United States, Landis positioned himself to be the logical, and readily available, replacement. Once Kelly's Heroes finished shooting, Landis would spend his time working on other films that were shooting in Italy and the United Kingdom. It is said he was a stuntman on Sergio Leone's The Good, The Bad, and The Ugly, but I'm going to call shenanigans on that one, as the film was made in 1966, when Landis was only sixteen years old and not yet working in the film industry. I'm also going to call shenanigans on his working as a stunt performer on Leone's 1968 film Once Upon a Time in the West, and Tony Richardson's 1968 film The Charge of the Light Brigade, and Peter Collinson's 1969 film The Italian Job, which also were all filmed and released into theatres before Landis made his way to Europe the first time around.   In 1971, Landis would write and direct his first film, a low-budget horror comedy called Schlock, which would star Landis as the title character, in an ape suit designed by master makeup creator Rick Baker. The $60k film was Landis's homage to the monster movies he grew up watching, and his crew would spend 12 days in production, stealing shots wherever they could  because they could not afford filming permits. For more than a year, Landis would show the completed film to any distributor that would give him the time of day, but no one was interested in a very quirky comedy featuring a guy in a gorilla suit playing it very very straight.   Somehow, Johnny Carson was able to screen a print of the film sometime in the fall of 1972, and the powerful talk show host loved it. On November 2nd, 1972, Carson would have Landis on The Tonight Show to talk about his movie. Landis was only 22 at the time, and the exposure on Carson would drive great interest in the film from a number of smaller independent distributors would wouldn't take his calls even a week earlier. Jack H. Harris Enterprises would be the victor, and they would first release Schlock on twenty screens in Los Angeles on December 12th, 1973, the top of a double bill alongside the truly schlocky Son of The Blob. The film would get a very good reception from the local press, including positive reviews from the notoriously prickly Los Angeles Times critic Kevin Thomas, and an unnamed critic in the pages of the industry trade publication Daily Variety. The film would move from market to market every few weeks, and the film would make a tidy little profit for everyone involved. But it would be four more years until Landis would make his follow-up film.   The Kentucky Fried Movie originated not with Landis but with three guys from Madison, Wisconsin who started their own theatre troop while attending the University of Wisconsin before moving it to West Los Angeles in 1971. Those guys, brothers David and Jerry Zucker, and their high school friend Jim Abrahams, had written a number of sketches for their stage shows over a four year period, and felt a number of them could translate well to film, as long as they could come up with a way to link them all together. Although they would be aware of Ken Shapiro's 1974 comedy anthology movie The Groove Tube, a series of sketches shot on videotape shown in movie theatres on the East Coast at midnight on Saturday nights, it would finally hit them in 1976, when Neal Israel's anthology sketch comedy movie TunnelVision became a small hit in theatres. That movie featured Chevy Chase and Laraine Newman, two of the stars of NBC's hit show Saturday Night Live, which was the real reason the film was a hit, but that didn't matter to Zucker, Abrahams and Zucker.   The Zucker/Abrahams/Zucker team decided they needed to not just tell potential backers about the film but show them what they would be getting. They would raise $35,000 to film a ten minute segment, but none of them had ever directed anything for film before, so they would start looking for an experienced director who would be willing to work on a movie like theirs for little to no money.   Through mutual friend Bob Weiss, the trio would meet and get to know John Landis, who would come aboard to direct the presentation reel, if not the entire film should it get funded. That segment, if you've seen Kentucky Fried Movie, included the fake trailer for Cleopatra Schwartz, a parody of blaxploitation movies. The guys would screen the presentation reel first to Kim Jorgensen, the owner of the famed arthouse theatre the Nuart here in Los Angeles, and Jorgensen loved it. He would put up part of the $650k budget himself, and he would show the reel to his friends who also ran theatres, not just in Los Angeles, whenever they were in town, and it would be through a consortium of independent movie theatre owners that Kentucky Fried Movie would get financed.   The movie would be released on August 10th, 1977, ironically the same day as another independent sketch comedy movie, Can I Do It Till I Need Glasses?, was released. But Kentucky Fried Movie would have the powerful United Artists Theatres behind them, as they would make the movie the very first release through their own distribution company, United Film Distribution. I did a three part series on UFDC back in 2021, if you'd like to learn more about them. Featuring such name actors as Bill Bixby, Henry Gibson, George Lazenby and Donald Sutherland, Kentucky Fried Movie would earn more than $7m in theatres, and would not only give John Landis the hit he needed to move up the ranks, but it would give Zucker, Abrahams and Zucker the opportunity to make their own movie. But we'll talk about Airplane! sometime in the future.   Shortly after the release of Kentuck Fried Movie, Landis would get hired to direct Animal House, which would become the surprise success of 1978 and lead Landis into directing The Blues Brothers, which is probably the most John Landis movie that will ever be made. Big, loud, schizophrenic, a little too long for its own good, and filled with a load of in-jokes and cameos that are built only for film fanatics and/or John Landis fanatics. The success of The Blues Brothers would give Landis the chance to make his dream project, a horror comedy he had written more than a decade before.   An American Werewolf in London was the right mix of comedy and horror, in-jokes and great needle drops, with some of the best practical makeup effects ever created for a movie. Makeup effects so good that, in fact, the Academy of Motion Pictures Arts and Sciences would make the occasionally given Best Makeup Effects Oscar a permanent category, and Werewolf would win that category's first competitive Oscar.   In 1982, Landis would direct Coming Soon, one of the first direct-to-home video movies ever released. Narrated by Jamie Lee Curtis, Coming Soon was, essentially, edited clips from 34 old horror and thriller trailers for movies owned by Universal, from Frankenstein and Dracula to Psycho and The Birds. It's only 55 minutes long, but the video did help younger burgeoning cineasts learn more about the history of Universal's monster movies.   And then, as previously mentioned, there was the accident during the filming of The Twilight Zone.   Landis was able to recover enough emotionally from the tragedy to direct Trading Places with Eddie Murphy and Dan Aykroyd in the winter of 1982/83, another hit that maybe showed Hollywood the public wasn't as concerned about the Twilight Zone accident as they worried it would. The Twilight Zone movie would be released three weeks after Trading Places, and while it was not that big a hit, it wasn't quite the bomb it was expected to be because of the accident.   Which brings us to Into the Night.   While Landis was working on the final edit of Trading Places, the President of Universal Pictures, Sean Daniels, contacted Landis about what his next project might be. Universal was where Landis had made Animal House, The Blues Brothers and American Werewolf, so it would not be unusual for a studio head to check up on a filmmaker who had made three recent successful films for them. Specifically, Daniels wanted to pitch Landis on a screenplay the studio had in development called Into the Night. Ron Koslow, the writer of the 1976 Sam Elliott drama Lifeguard, had written the script on spec which the studio had picked up, about an average, ordinary guy who, upon discovering his wife is having an affair, who finds himself in the middle of an international incident involving jewel smuggling out of Iran. Maybe this might be something he would be interested in working on, as it would be both right up his alley, a comedy, and something he'd never done before, a romantic action thriller.   Landis would agree to make the film, if he were allowed some leeway in casting.   For the role of Ed Okin, an aerospace engineer whose insomnia leads him to the Los Angeles International Airport in search of some rest, Landis wanted Jeff Goldblum, who had made more than 15 films over the past decade, including Annie Hall, Invasion of the Body Snatchers, The Big Chill and The Right Stuff, but had never been the lead in a movie to this point. For Diana, the jewel smuggler who enlists the unwitting Ed into her strange world, Landis wanted Michelle Pfeiffer, the gorgeous star of Grease 2 and Scarface. But mostly, Landis wanted to fill as many of supporting roles with either actors he had worked with before, like Dan Aykroyd and Bruce McGill, or filmmakers who were either contemporaries of Landis and/or were filmmakers he had admired. Amongst those he would get would be Jack Arnold, Paul Bartel, David Cronenberg, Jonathan Demme, Richard Franklin, Amy Heckerling, Colin Higgins, Jim Henson, Lawrence Kasdan, Jonathan Lynn, Paul Mazursky, Don Siegel, and Roger Vadim, as well as Jaws screenwriter Carl Gottlieb, Midnight Cowboy writer Waldo Salt, personal trainer to the stars Jake Steinfeld, music legends David Bowie and Carl Perkins, and several recent Playboy Playmates. Landis himself would be featured as one of the four Iranian agents chasing Pfeiffer's character.   While neither Perkins nor Bowie would appear on the soundtrack to the film, Landis was able to get blues legend B.B. King to perform three songs, two brand new songs as well as a cover of the Wilson Pickett classic In the Midnight Hour.   Originally scheduled to be produced by Joel Douglas, brother of Michael and son of Kirk, Into the Night would go into production on April 2nd, 1984, under the leadership of first-time producer Ron Koslow and Landis's producing partner George Folsey, Jr.   The movie would make great use of dozens of iconic Los Angeles locations, including the Beverly Wilshire Hotel, the Shubert Theatre in Century City, the Ships Coffee Shot on La Cienega, the flagship Tiffanys and Company in Beverly Hills, Randy's Donuts, and the aforementioned airport. But on Monday, April 23rd, the start of the fourth week of shooting, the director was ordered to stand trial on charges of involuntary manslaughter due to the accident on the Twilight Zone set. But the trial would not start until months after Into the Night was scheduled to complete its shoot. In an article about the indictment printed in the Los Angeles Times two days later, Universal Studios head Sean Daniels was insistent the studio had made no special plans in the event of Landis' possible conviction. Had he been found guilty of involuntary manslaughter, Landis was looking at up to six years in prison.   The film would wrap production in early June, and Landis would spend the rest of the year in an editing bay on the Universal lot with his editor, Malcolm Campbell, who had also cut An American Werewolf in London, Trading Places, the Michael Jackson Thriller short film, and Landis's segment and the Landis-shot prologue to The Twilight Zone.   During this time, Universal would set a February 22nd, 1985 release date for the film, an unusual move, as every movie Landis had made since Kentucky Fried Movie had been released during the summer movie season, and there was nothing about Into the Night that screamed late Winter.   I've long been a proponent of certain movies having a right time to be released, and late February never felt like the right time to release a morbid comedy, especially one that takes place in sunny Los Angeles. When Into the Night opened in New York City, at the Loews New York Twin at Second Avenue and 66th Street, the high in the city was 43 degrees, after an overnight low of 25 degrees. What New Yorker wants to freeze his or her butt off to see Jeff Goldblum run around Los Angeles with Michelle Pfeiffer in a light red leather jacket and a thin white t-shirt, if she's wearing anything at all? Well, actually, that last part wasn't so bad. But still, a $40,000 opening weekend gross at the 525 seat New York Twin would be one of the better grosses for all of the city. In Los Angeles, where the weather was in the 60s all weekend, the film would gross $65,500 between the 424 seat Avco Cinema 2 in Westwood and the 915 seat Cinerama Dome in Hollywood.   The reviews, like with many of Landis's films, were mixed.   Richard Corliss of Time Magazine would find the film irresistible and a sparkling thriller, calling Goldblum and Pfeiffer two of the most engaging young actors working. Peter Travers, writing for People Magazine at the time, would anoint the film with a rarely used noun in film criticism, calling it a “pip.” Travers would also call Pfeiffer a knockout of the first order, with a newly uncovered flair for comedy. Guess he hadn't seen her in the 1979 ABC spin-off of Animal House, called Delta House, in which she played The Bombshell, or in Floyd Mutrix's 1980 comedy The Hollywood Knights.    But the majority of critics would find plenty to fault with the film. The general critical feeling for the film was that it was too inside baseball for most people, as typified by Vincent Canby in his review for the New York Times. Canby would dismiss the film as having an insidey, which is not a word, manner of a movie made not for the rest of us but for the moviemakers on the Bel Air circuit who watch each other's films in their own screening room.   After two weeks of exclusive engagements in New York and Los Angeles, Universal would expand the film to 1096 screens on March 8th, where the film would gross $2.57m, putting it in fifth place for the weekend, nearly a million dollars less than fellow Universal Pictures film The Breakfast Club, which was in its fourth week of release and in ninety fewer theatres. After a fourth weekend of release, where the film would come in fifth place again with $1.95m, now nearly a million and a half behind The Breakfast Club, Universal would start to migrate the film out of first run theatres and into dollar houses, in order to make room for another film of theirs, Peter Bogdanovich's comeback film Mask, which would be itself expanding from limited release to wide release on March 22nd. Into the Night would continue to play at the second-run theatres for months, but its final gross of $7.56m wouldn't even cover the film's $8m production budget.   Despite the fact that it has both Jeff Goldblum and Michelle Pfeiffer as its leads, Into the Night would not become a cult film on home video the way that many films neglected by audiences in theatres would find a second life.   I thought the film was good when I saw it opening night at the Aptos Twin. I enjoyed the obvious chemistry between the two leads, and I enjoyed the insidey manner in which there were so many famous filmmakers doing cameos in the film. I remember wishing there was more of David Bowie, since there were very few people, actors or musicians, who would fill the screen with so much charm and charisma, even when playing a bad guy. And I enjoyed listening to B.B. King on the soundtrack, as I had just started to get into the blues during my senior year of high school.   I revisited the film, which you can rent or buy on Apple TV, Amazon and several other major streaming services, for the podcast, and although I didn't enjoy the film as much as I remember doing so in 1985, it was clear that these two actors were going to become big stars somewhere down the road. Goldblum, of course, would become a star the following year, thanks to his incredible work in David Cronenberg's The Fly. Incidentally, Goldblum and Cronenberg would meet for the first time on the set of Into the Night. And, of course, Michelle Pfeiffer would explode in 1987, thanks to her work with Susan Sarandon, Cher and Jack Nicholson in The Witches of Eastwick, which she would follow up with not one, not two but three powerhouse performances of completely different natures in 1988, in Jonathan Demme's Married to the Mob, Robert Towne's Tequila Sunrise, and her Oscar-nominated work in Stephen Frears' Dangerous Liaisons. Incidentally, Pfeiffer and Jonathan Demme would also meet for the first time on the set of Into the Night, so maybe it was kismet that all these things happened in part because of the unusual casting desires of John Landis.   Thank you for joining us. We'll talk again soon, when Episode 108, on Martha Coolidge's Valley Girl, is released.     Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Into the Night.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

On this episode, we do our first deep dive into the John Landis filmography, to talk about one of his lesser celebrated film, the 1985 Jeff Goldblum/Michelle Pfeiffer morbid comedy Into the Night. ----more---- TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   Long time listeners to this show know that I am not the biggest fan of John Landis, the person. I've spoken about Landis, and especially about his irresponsibility and seeming callousness when it comes to the helicopter accident on the set of his segment for the 1983 film The Twilight Zone which took the lives of actors Vic Morrow, Myca Dinh Le and Renee Shin-Yi Chen, enough where I don't wish to rehash it once again.   But when one does a podcast that celebrates the movies of the 1980s, every once in a while, one is going to have to talk about John Landis and his movies. He did direct eight movies, one documentary and a segment in an anthology film during the decade, and several of them, both before and after the 1982 helicopter accident, are actually pretty good films.   For this episode, we're going to talk about one of his lesser known and celebrated films from the decade, despite its stacked cast.   We're talking about 1985's Into the Night.   But, as always, before we get to Into the Night, some backstory.   John David Landis was born in Chicago in 1950, but his family moved to Los Angeles when he was four months old. While he grew up in the City of Angels, he still considers himself a Chicagoan, which is an important factoid to point out a little later in his life.   After graduating from high school in 1968, Landis got his first job in the film industry the way many a young man and woman did in those days: through the mail room at a major studio, his being Twentieth Century-Fox. He wasn't all that fond of the mail room. Even since he had seen The  7th Voyage of Sinbad at the age of eight, he knew he wanted to be a filmmaker, and you're not going to become a filmmaker in the mail room. By chance, he would get a job as a production assistant on the Clint Eastwood/Telly Savalas World War II comedy/drama Kelly's Heroes, despite the fact that the film would be shooting in Yugoslavia. During the shoot, he would become friendly with the film's co-stars Don Rickles and Donald Sutherland. When the assistant director on the film got sick and had to go back to the United States, Landis positioned himself to be the logical, and readily available, replacement. Once Kelly's Heroes finished shooting, Landis would spend his time working on other films that were shooting in Italy and the United Kingdom. It is said he was a stuntman on Sergio Leone's The Good, The Bad, and The Ugly, but I'm going to call shenanigans on that one, as the film was made in 1966, when Landis was only sixteen years old and not yet working in the film industry. I'm also going to call shenanigans on his working as a stunt performer on Leone's 1968 film Once Upon a Time in the West, and Tony Richardson's 1968 film The Charge of the Light Brigade, and Peter Collinson's 1969 film The Italian Job, which also were all filmed and released into theatres before Landis made his way to Europe the first time around.   In 1971, Landis would write and direct his first film, a low-budget horror comedy called Schlock, which would star Landis as the title character, in an ape suit designed by master makeup creator Rick Baker. The $60k film was Landis's homage to the monster movies he grew up watching, and his crew would spend 12 days in production, stealing shots wherever they could  because they could not afford filming permits. For more than a year, Landis would show the completed film to any distributor that would give him the time of day, but no one was interested in a very quirky comedy featuring a guy in a gorilla suit playing it very very straight.   Somehow, Johnny Carson was able to screen a print of the film sometime in the fall of 1972, and the powerful talk show host loved it. On November 2nd, 1972, Carson would have Landis on The Tonight Show to talk about his movie. Landis was only 22 at the time, and the exposure on Carson would drive great interest in the film from a number of smaller independent distributors would wouldn't take his calls even a week earlier. Jack H. Harris Enterprises would be the victor, and they would first release Schlock on twenty screens in Los Angeles on December 12th, 1973, the top of a double bill alongside the truly schlocky Son of The Blob. The film would get a very good reception from the local press, including positive reviews from the notoriously prickly Los Angeles Times critic Kevin Thomas, and an unnamed critic in the pages of the industry trade publication Daily Variety. The film would move from market to market every few weeks, and the film would make a tidy little profit for everyone involved. But it would be four more years until Landis would make his follow-up film.   The Kentucky Fried Movie originated not with Landis but with three guys from Madison, Wisconsin who started their own theatre troop while attending the University of Wisconsin before moving it to West Los Angeles in 1971. Those guys, brothers David and Jerry Zucker, and their high school friend Jim Abrahams, had written a number of sketches for their stage shows over a four year period, and felt a number of them could translate well to film, as long as they could come up with a way to link them all together. Although they would be aware of Ken Shapiro's 1974 comedy anthology movie The Groove Tube, a series of sketches shot on videotape shown in movie theatres on the East Coast at midnight on Saturday nights, it would finally hit them in 1976, when Neal Israel's anthology sketch comedy movie TunnelVision became a small hit in theatres. That movie featured Chevy Chase and Laraine Newman, two of the stars of NBC's hit show Saturday Night Live, which was the real reason the film was a hit, but that didn't matter to Zucker, Abrahams and Zucker.   The Zucker/Abrahams/Zucker team decided they needed to not just tell potential backers about the film but show them what they would be getting. They would raise $35,000 to film a ten minute segment, but none of them had ever directed anything for film before, so they would start looking for an experienced director who would be willing to work on a movie like theirs for little to no money.   Through mutual friend Bob Weiss, the trio would meet and get to know John Landis, who would come aboard to direct the presentation reel, if not the entire film should it get funded. That segment, if you've seen Kentucky Fried Movie, included the fake trailer for Cleopatra Schwartz, a parody of blaxploitation movies. The guys would screen the presentation reel first to Kim Jorgensen, the owner of the famed arthouse theatre the Nuart here in Los Angeles, and Jorgensen loved it. He would put up part of the $650k budget himself, and he would show the reel to his friends who also ran theatres, not just in Los Angeles, whenever they were in town, and it would be through a consortium of independent movie theatre owners that Kentucky Fried Movie would get financed.   The movie would be released on August 10th, 1977, ironically the same day as another independent sketch comedy movie, Can I Do It Till I Need Glasses?, was released. But Kentucky Fried Movie would have the powerful United Artists Theatres behind them, as they would make the movie the very first release through their own distribution company, United Film Distribution. I did a three part series on UFDC back in 2021, if you'd like to learn more about them. Featuring such name actors as Bill Bixby, Henry Gibson, George Lazenby and Donald Sutherland, Kentucky Fried Movie would earn more than $7m in theatres, and would not only give John Landis the hit he needed to move up the ranks, but it would give Zucker, Abrahams and Zucker the opportunity to make their own movie. But we'll talk about Airplane! sometime in the future.   Shortly after the release of Kentuck Fried Movie, Landis would get hired to direct Animal House, which would become the surprise success of 1978 and lead Landis into directing The Blues Brothers, which is probably the most John Landis movie that will ever be made. Big, loud, schizophrenic, a little too long for its own good, and filled with a load of in-jokes and cameos that are built only for film fanatics and/or John Landis fanatics. The success of The Blues Brothers would give Landis the chance to make his dream project, a horror comedy he had written more than a decade before.   An American Werewolf in London was the right mix of comedy and horror, in-jokes and great needle drops, with some of the best practical makeup effects ever created for a movie. Makeup effects so good that, in fact, the Academy of Motion Pictures Arts and Sciences would make the occasionally given Best Makeup Effects Oscar a permanent category, and Werewolf would win that category's first competitive Oscar.   In 1982, Landis would direct Coming Soon, one of the first direct-to-home video movies ever released. Narrated by Jamie Lee Curtis, Coming Soon was, essentially, edited clips from 34 old horror and thriller trailers for movies owned by Universal, from Frankenstein and Dracula to Psycho and The Birds. It's only 55 minutes long, but the video did help younger burgeoning cineasts learn more about the history of Universal's monster movies.   And then, as previously mentioned, there was the accident during the filming of The Twilight Zone.   Landis was able to recover enough emotionally from the tragedy to direct Trading Places with Eddie Murphy and Dan Aykroyd in the winter of 1982/83, another hit that maybe showed Hollywood the public wasn't as concerned about the Twilight Zone accident as they worried it would. The Twilight Zone movie would be released three weeks after Trading Places, and while it was not that big a hit, it wasn't quite the bomb it was expected to be because of the accident.   Which brings us to Into the Night.   While Landis was working on the final edit of Trading Places, the President of Universal Pictures, Sean Daniels, contacted Landis about what his next project might be. Universal was where Landis had made Animal House, The Blues Brothers and American Werewolf, so it would not be unusual for a studio head to check up on a filmmaker who had made three recent successful films for them. Specifically, Daniels wanted to pitch Landis on a screenplay the studio had in development called Into the Night. Ron Koslow, the writer of the 1976 Sam Elliott drama Lifeguard, had written the script on spec which the studio had picked up, about an average, ordinary guy who, upon discovering his wife is having an affair, who finds himself in the middle of an international incident involving jewel smuggling out of Iran. Maybe this might be something he would be interested in working on, as it would be both right up his alley, a comedy, and something he'd never done before, a romantic action thriller.   Landis would agree to make the film, if he were allowed some leeway in casting.   For the role of Ed Okin, an aerospace engineer whose insomnia leads him to the Los Angeles International Airport in search of some rest, Landis wanted Jeff Goldblum, who had made more than 15 films over the past decade, including Annie Hall, Invasion of the Body Snatchers, The Big Chill and The Right Stuff, but had never been the lead in a movie to this point. For Diana, the jewel smuggler who enlists the unwitting Ed into her strange world, Landis wanted Michelle Pfeiffer, the gorgeous star of Grease 2 and Scarface. But mostly, Landis wanted to fill as many of supporting roles with either actors he had worked with before, like Dan Aykroyd and Bruce McGill, or filmmakers who were either contemporaries of Landis and/or were filmmakers he had admired. Amongst those he would get would be Jack Arnold, Paul Bartel, David Cronenberg, Jonathan Demme, Richard Franklin, Amy Heckerling, Colin Higgins, Jim Henson, Lawrence Kasdan, Jonathan Lynn, Paul Mazursky, Don Siegel, and Roger Vadim, as well as Jaws screenwriter Carl Gottlieb, Midnight Cowboy writer Waldo Salt, personal trainer to the stars Jake Steinfeld, music legends David Bowie and Carl Perkins, and several recent Playboy Playmates. Landis himself would be featured as one of the four Iranian agents chasing Pfeiffer's character.   While neither Perkins nor Bowie would appear on the soundtrack to the film, Landis was able to get blues legend B.B. King to perform three songs, two brand new songs as well as a cover of the Wilson Pickett classic In the Midnight Hour.   Originally scheduled to be produced by Joel Douglas, brother of Michael and son of Kirk, Into the Night would go into production on April 2nd, 1984, under the leadership of first-time producer Ron Koslow and Landis's producing partner George Folsey, Jr.   The movie would make great use of dozens of iconic Los Angeles locations, including the Beverly Wilshire Hotel, the Shubert Theatre in Century City, the Ships Coffee Shot on La Cienega, the flagship Tiffanys and Company in Beverly Hills, Randy's Donuts, and the aforementioned airport. But on Monday, April 23rd, the start of the fourth week of shooting, the director was ordered to stand trial on charges of involuntary manslaughter due to the accident on the Twilight Zone set. But the trial would not start until months after Into the Night was scheduled to complete its shoot. In an article about the indictment printed in the Los Angeles Times two days later, Universal Studios head Sean Daniels was insistent the studio had made no special plans in the event of Landis' possible conviction. Had he been found guilty of involuntary manslaughter, Landis was looking at up to six years in prison.   The film would wrap production in early June, and Landis would spend the rest of the year in an editing bay on the Universal lot with his editor, Malcolm Campbell, who had also cut An American Werewolf in London, Trading Places, the Michael Jackson Thriller short film, and Landis's segment and the Landis-shot prologue to The Twilight Zone.   During this time, Universal would set a February 22nd, 1985 release date for the film, an unusual move, as every movie Landis had made since Kentucky Fried Movie had been released during the summer movie season, and there was nothing about Into the Night that screamed late Winter.   I've long been a proponent of certain movies having a right time to be released, and late February never felt like the right time to release a morbid comedy, especially one that takes place in sunny Los Angeles. When Into the Night opened in New York City, at the Loews New York Twin at Second Avenue and 66th Street, the high in the city was 43 degrees, after an overnight low of 25 degrees. What New Yorker wants to freeze his or her butt off to see Jeff Goldblum run around Los Angeles with Michelle Pfeiffer in a light red leather jacket and a thin white t-shirt, if she's wearing anything at all? Well, actually, that last part wasn't so bad. But still, a $40,000 opening weekend gross at the 525 seat New York Twin would be one of the better grosses for all of the city. In Los Angeles, where the weather was in the 60s all weekend, the film would gross $65,500 between the 424 seat Avco Cinema 2 in Westwood and the 915 seat Cinerama Dome in Hollywood.   The reviews, like with many of Landis's films, were mixed.   Richard Corliss of Time Magazine would find the film irresistible and a sparkling thriller, calling Goldblum and Pfeiffer two of the most engaging young actors working. Peter Travers, writing for People Magazine at the time, would anoint the film with a rarely used noun in film criticism, calling it a “pip.” Travers would also call Pfeiffer a knockout of the first order, with a newly uncovered flair for comedy. Guess he hadn't seen her in the 1979 ABC spin-off of Animal House, called Delta House, in which she played The Bombshell, or in Floyd Mutrix's 1980 comedy The Hollywood Knights.    But the majority of critics would find plenty to fault with the film. The general critical feeling for the film was that it was too inside baseball for most people, as typified by Vincent Canby in his review for the New York Times. Canby would dismiss the film as having an insidey, which is not a word, manner of a movie made not for the rest of us but for the moviemakers on the Bel Air circuit who watch each other's films in their own screening room.   After two weeks of exclusive engagements in New York and Los Angeles, Universal would expand the film to 1096 screens on March 8th, where the film would gross $2.57m, putting it in fifth place for the weekend, nearly a million dollars less than fellow Universal Pictures film The Breakfast Club, which was in its fourth week of release and in ninety fewer theatres. After a fourth weekend of release, where the film would come in fifth place again with $1.95m, now nearly a million and a half behind The Breakfast Club, Universal would start to migrate the film out of first run theatres and into dollar houses, in order to make room for another film of theirs, Peter Bogdanovich's comeback film Mask, which would be itself expanding from limited release to wide release on March 22nd. Into the Night would continue to play at the second-run theatres for months, but its final gross of $7.56m wouldn't even cover the film's $8m production budget.   Despite the fact that it has both Jeff Goldblum and Michelle Pfeiffer as its leads, Into the Night would not become a cult film on home video the way that many films neglected by audiences in theatres would find a second life.   I thought the film was good when I saw it opening night at the Aptos Twin. I enjoyed the obvious chemistry between the two leads, and I enjoyed the insidey manner in which there were so many famous filmmakers doing cameos in the film. I remember wishing there was more of David Bowie, since there were very few people, actors or musicians, who would fill the screen with so much charm and charisma, even when playing a bad guy. And I enjoyed listening to B.B. King on the soundtrack, as I had just started to get into the blues during my senior year of high school.   I revisited the film, which you can rent or buy on Apple TV, Amazon and several other major streaming services, for the podcast, and although I didn't enjoy the film as much as I remember doing so in 1985, it was clear that these two actors were going to become big stars somewhere down the road. Goldblum, of course, would become a star the following year, thanks to his incredible work in David Cronenberg's The Fly. Incidentally, Goldblum and Cronenberg would meet for the first time on the set of Into the Night. And, of course, Michelle Pfeiffer would explode in 1987, thanks to her work with Susan Sarandon, Cher and Jack Nicholson in The Witches of Eastwick, which she would follow up with not one, not two but three powerhouse performances of completely different natures in 1988, in Jonathan Demme's Married to the Mob, Robert Towne's Tequila Sunrise, and her Oscar-nominated work in Stephen Frears' Dangerous Liaisons. Incidentally, Pfeiffer and Jonathan Demme would also meet for the first time on the set of Into the Night, so maybe it was kismet that all these things happened in part because of the unusual casting desires of John Landis.   Thank you for joining us. We'll talk again soon, when Episode 108, on Martha Coolidge's Valley Girl, is released.     Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Into the Night.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Atonal snores, sonorous gurgles - it's all part of the dance of the soundscape. In this episode we continue to explore the soundscape with nature recordist Lang Elliot, with some wonderfully textured sounds recorded in La Cienega's National Conservation area in Arizona. Learn more about your ad choices. Visit megaphone.fm/adchoices

Angelenos are getting hitched at the Cute Little Wedding Chapel in Long Beach. They're taking advantage of the $14 Valentine's Day special. Trashy Lingerie, the hot pink store on La Cienega, has made costumes for the likes of Madonna and Reese Witherspoon. Valentine's Day is their busiest day of the year. Hollywood has a Museum of Death — and now a Love Museum. Its founder, a psychology professor, wants to help you understand love better.

In this episode of The Antidote, Amy and Grace connect with standup comedian, writer and actor Jordan Carlos in a live conversation from this year's New York Comedy Festival. Jordan joins Amy and Grace in a new segment called The Wellness Shot, where we give advice to our audience and listeners to help solve their real-life issues. Amy and Grace also share their bummer news of the week –  Odell Beckham Jr. was recently removed from an American Airlines flight, and an antibiotic shortage. They also share their antidotes: Broadway and a “hot girl walk.”  Do you have a favorite antidote, or need an antidote suggestion? A question for Grace and Amy, or something you loved that Amy, Grace or one of their guests has said on the podcast? Share a message with The Antidote team: https://mpr.tfaforms.net/111 or tag us on Instagram with the hashtag #ThatsMyAntidote, or leave us a message on our hotline at 833-684-3683. FULL TRANSCRIPT Amy The world is a dumpster fire. I'm Amy. Grace And I'm Grace. Amy And we want to f---ing help. Grace We're comedy writers in Los Angeles. And as a reflex to the madness on the news, we're keeping a positive but opinionated. Amy We talk about cultural moments we love. Grace Talk to people we adore.  Amy Crushes we have. Grace And self-care we stan. Amy During these trying times, we all need a show that focuses on joy. Grace This is The Antidote. Amy Pow, pow, pow. Grace Hi, everybody. Welcome, welcome, welcome. We are back. I'm a little crazy today. We finished shooting last night at 1 a.m. and here I am in the morning and I feel good. I still haven't seen my friend. Hi, amy Amy Yay hi. And also congratulations to my friend for finishing her shoot. Like, literally, I feel like you've lived in New York for nine years. Grace I know I do too. I feel like it's been 20,000 years. I was young when I left. I'm old now. Amy But at the end of it you have a beautiful, magnificent, funny and hilarious show to show the world and hopefully we will be seeing it soon. Grace Yeah, one that my wonderful friend Amy directed two episodes of. So, so, you know, stay tuned for the Amy and Grace collabo with Michelle Buteau and other wonderful people. Amy Yes, that's right. Grace Girl, girl, did you hear about this Good Morning America thing? Amy The Good Morning America scandal is all over my timeline. My thing about the Twitter feed this past week is that I had to come in contact with two people who I did not know who they were. And now I know everything about them. And I'm talking about T.J. Holmes. Yeah. And Amy Robach. Yeah. I'm like, who are y'all? Grace Yeah, I had no idea who they were either. I mean, the T.J. Holmes guy looked a little bit more familiar to me, but I was like, oh, I've maybe seen that before. But that woman, she she looks like a copy of so many other women I've seen on tv. Amy You know, so crazy to me because both of them are married in other relationships. T.J. Holmes, a man I didn't know existed, you know, posted like a tribute to his wife, man, a year ago, like less than a year ago, posted a tribute to his wife about how I tried to make her leave and she won't leave because she's got a black superwoman energy, whatever the f---. And then literally he's out here touching a white woman's ass. And I'm like, I have to say grace. So the there's this woman on Twitter. I don't know her personally, but her handle is batty, ma'am. So that's B.A. YMCA lady. And she has, like, just a little mini thread called Men Will Embarrass You. And this week's Men Men Will Embarrass You is this man, T.J. Holmes, given this tribute to his f---ing wife? And I got to say, lady, I don't know you, but it's time to leave. Grace You got to. Amy Do you need me to show up, need me- to the window? Just lift it up. Help you down. You can Rapunzel throw out your hair and I'll just drag you. Right? Like, I don't know how we. Grace No. Amy Make you leave, but you got to go, girl. Grace It is so embarrassing. And the thing is that they weren't even trying to hide it. They were not being discreet. Nice. And they know they're on TV. I don't know what they thought. That they could just blend in like that. They were just in a bar on the street, grabbing ass, walking through there, walking through the park hand-in-hand. Like at least have the respect for your spouses that have you off again, because I guess they're both separated, right? Amy I don't know if they were. I mean, that feels like new information was like something that was like we were separated. Like, it doesn't I'm like where they. Like, we'll never know. Grace But even like you still have a marital contract, at least don't like be out in the open, go in the hotel room or whatever. You know, don't be just out in the open grabbing booties and stuff, you know. Amy And also grabbing groceries. They were like doing like daily routine things. Like they're a couple when people on TV back to normal, I'm like, y'all, you have faces. People recognize you're in like a million or so homes across America. Every morning y'all are on TV. You can't just be out here acting like you're f---ing Tam and Pam. But you know Pam, like, I don't know, like in Milwaukee who nobody's paying attention to. Like you, literally. I don't know if I would call them famous, but they are you know, they're known. Grace And that's the thing. Like you get the privilege of having millions of dollars and being famous and getting free sh-- because you are on GMA. So you have to accept what comes with that privilege, which is that people know who you are and you can't cheat out in the open. Yeah, probably any Tom, Dick and Harry or whatever. You could go to one city over and you could be acting like y'all married each other. But ya'll can. Amy Also the audacity to cheat in the morning, because that's the other thing. They're Good Morning America. And then they were out in the open in the morning and I'm like, it just was me. I was like, How do we doing out in the morning doing chores? But anyway, I do think that it reminds me of a conversation we had with Jordan. We had a lot of questions about relationships, about being far our guest that's coming up this episode, Jordan Carlos, who did our live show from Brooklyn, New York, which was a part of the New York Comedy Festival on November. BR Well, we had a few questions about relationships, so stick around to hear that in a new segment we created called The Wellness Shop. And if you're in a relationship now, hug your partner, set them free. But don't be doing this sh--. Grace Don't be embarrassed and ask the men or women. Anyway, we wouldn't need the antidote if we didn't have the bummer news. Amy Starting now, top of the hour. Bummer. News of the week. Our first topic is that athlete and you know, hottie with the body. Odell Beckham Jr has been removed from an American Airlines flight recently over, quote unquote, concerns for his health while sleeping with a blanket over his face. Those who don't know Odell Beckham Jr is a very well known wide receiver in the NFL. He catches ball. He's a free agent right now. Yes. He catches balls for a living. Well done. Great for for sports. But he's like a free agent right now, like people trying to court him because, like, you know, he's good at it. Yeah, he's very good. And it's not just because of his looks. Why am I like, oh, I don't know. Well, Beckham, Junior, what a hottie. But anyway, I only know about him because a a few comedians a few years back said some weird sh-- about him. And then part B, there used to be a billboard of him in an underwear ad on La Cienega, and I'd pass it every time I was going to work, and I was like, Who's that? So I learned about sports that day. But anyway, Odell Beckham has a tradition of draping a blanket over his face during long flights so he can sleep, according to his attorney. And this time, while asleep, the flight returned to the gate and Beckham was asked to leave the flight as he had not buckled his seatbelt at the time due to being asleep. Even after offering to buckle his seatbelt, the flight attendant said it's too late now to exit or the entire aircraft would be deplaned in the airports. Report, they claim, quote, he appeared to be coming in and out of consciousness, end quote. And we're concerned he was, quote, seriously ill, end quote, leading to the plane, returning to the gate after the aircraft was deplaned. Beckham left the plane without incident because, you know, he ig but he did tweet that quote, Never in my life have I experienced what just happened to me. I've seen it all. Grace This seems weird to me. I don't know this. I don't know how this happened. Like he was sleepy and ask somebody with a very sleepy friend, Amy, and she's talking about me. She can sleep anywhere. And there have been times where I'm like, Wake up, Amy, wake up. You got to go like, Oh, and it's not like it's sometimes it just doesn't happen. Some people sleep hard and it doesn't feel like a flight attendant would have never seen that before. And then once he said he would buckle a seatbelt, like, you're going to have to deplane everybody. He was nice because I'd be like, literally, you woke me up to buckle my seatbelt and I'm doing it. So like, why can't I go see a Black man? Amy He had to be nice. Like, that's the thing that makes me upset and that's what it's like. He couldn't be like, what? For too long? It's like he's a famous black man and knows it, and he's like, I got to get off this plane. Like, you can't raise a stink. Grace Yeah, it's weird. I have this story. Something seems off. I and I feel bad because I'm sure that was so embarrassing, you know? And then it becomes a whole news story. And, yes, he should have buckled the seatbelt. Yes. But when he offers to buckle it, they should have just let the plane go without incident. Like what was getting him off the flight? Like it wasn't going to delay it more or less. Like you could have just let him stay. So. Boo American Airlines once again. Amy Oh, my God. They're the same airline that f---ed up my luggage and wouldn't replace it. So, American Airlines, you're on notice. I know that's not the only bit of bummer news this week. The other thing that I read about is that RSV, you know, that respiratory syncytial virus. I don't even know how to say that middle word. That's why we abbreviating it. RSV, a virus particularly common among children, is on the rise and may be resulting in an antibiotics shortage. So I read that amoxicillin, one of the most common antibiotics for children, is facing a shortage because despite RSV being a viral infection, amoxicillin is often prescribed as secondary protection for underlying bacterial infections that arise during having RSV. So a doctor in USA Today said quote, For example, in addition to RSV, a child may also have developed an ear infection or pneumonia which could be treated with amoxicillin. And in most people, RSV just causes mild cold like symptoms. But in children, the elderly, in immunocompromised it can be very severe. So now that we're back into a flu season, now that we're back into a COVID surge, our issues are back to being near capacity and we are having a problem with this. So for me, I'm like, the reason this is a bummer to me is like of all the COVID shortages, we had toilet paper that was out, we had restaurant menus, they digital now. We didn't have hand sanitizer. This one really matters. Like, can we figure out how to get the kids their drugs?   Grace I really hope that Congress, useless congress tries to step in and do something.   Amy I feel you because it reminds you of the baby formula shortage that we talked about a few months back on another episode where it was just kind of like, Wait, we really out here? Just be like, babies, y'all good? Like we have to. The future of the country.   Grace I like that. Some say they're more important than the rest of us. You know, first of all, we already ruined the planet for them. We've already like we don't have a good planet to give them the you know, we flooded their schools with guns, so they now have to to go to school and be like father like I make at home today. So at the very least, can we just get the baby some antibiotics, whatever they need to do? Because, you know, there's nothing fatter than like a sick baby, you know?   Amy Yeah, well, I don't know how science works, but I'm thinking about these babies.   Grace Okay, let's get into this antidote, though.   Amy So this is a segment where we tell you about the culture we consumed and things we did this week that made us feel better about the bummer news. What was your antidote this week, Grace?   Grace Broadway, baby.   Amy Oh, hello. Yes. Hello, my darlin. Hello, my baby. Hello. my honey.   Grace Child, so in my previous life, I was a theater actor. So there is just something uniquely beautiful about going to see live theater. And I just I've been in L.A. for a while, and I'm sure there's great productions in Los Angeles as well. People keep telling me, but when you've had Broadway, you know, it's really hard to even imagine going to see live theater anywhere else. So I lived in New York for a very, very long time, and I actually was supposed to go to Mexico over the Thanksgiving holiday. I don't know what I was thinking, like thinking that I, in the middle of production would go to Mexico. Wait, why? Yeah, I was going to go there for the long weekend, so I decided to cancel that trip, and instead I decided to go see two Broadway shows because I've been so busy at work that I haven't gotten a chance to see a lot of Broadway. So I saw Death of a Salesman.   Amy Oh, nice.   Grace Which is like Black Death of a Salesman. Which is like it should be black because it's such a black story. And Wendell Pierce, he was in like, oh, right above. Like, you know, there is a little bit of a little hiccup, Eddie. And it was so fun because they were smoking on stage. And then the fire alarm went off and they stopped and that it was just like, ooh, peek behind the fourth wall. And there's just like had to get off stage of the they it took about 15 minutes to resolve and then they came back wow. And they started the scene all over again like f---ing pros that they are. But yeah.   Amy They started the scene all over. That's great. And then they just weren't smoking.   Grace Yeah. Yeah. And so it was him. It was Sharon Clark who was also incredible, who played his wife. Then there's a guy named Chris Davis who played Biff and McKinley Belcher as happy. And I cannot forget Andre de Shields was in it as well, who is just a magician? Yes.   Amy And he was The Wiz in The Wiz. Holy sh--.   Grace He was the Wiz in the Wiz.    Amy Oh, I knew. I knew that face.   Grace It was incredible. And like, I wept because I thought about all the black men that were alive back then and the lack of opportunity that they had. So it really hit different when you see a black man going to like this white guy to like beg for a job and that he just couldn't make it work with his family. And I know Arthur Miller wrote it, but it was just it just really hit when you think about our ancestors and what they'd been through. Come on. And so and it was just like such a cathartic weeping. And I was just like, thank you for your sacrifice so that this generation could have what they have. So that was the Friday after Thanksgiving and then the Saturday after Thanksgiving, I saw a show called Six.   Amy Oh, my gosh. Tell me about six.   Grace So Six is about Henry the eighth's six different wives.   Amy Oh, that's cool.   Grace So it's like a concert almost. Mm hmm. So basically, the premise of the show is they're just like, who had it worse? Like a six women. So.   Amy Girl, girl, girl. You all had it pretty sh---y.   Grace Yeah, you all had a pretty sh---y cause that guy was that great. So they each get their own song, and all of them just had incredible voices, but in different ways, and they were just singing down.   Amy It's coming to L.A. just so you know. Six is coming to L.A..   Grace I mean, I would see it again. It was so fun. And then it was also short. It was like 80 minutes, no intermission.   Amy Oh, cute. I like it quick.   Grace Yeah, I like it quick. I'm a half hours high, bitch, you know what I'm saying? And they were just so good. Like, you know, you sometimes you got to go to Broadway to hear real ass voices, you know, like there are singers like Beyonce, say, Adele and like Jasmine Sullivan. You know, we have yes, we have girls that can sing them down. Yeah, but.   Amy Broadway is a different type of vocality.   Grace Yeah. Yeah. But it's genuinely great to see it and to know that it was live and they were just incredible. So that was my antidote. Broadway, baby. So what was your antidote this week, Amy?   Amy Well, you know, a few weeks back, we had a guest on a show named Ashley Blaine Feathers and Jenkins. And I literally have been thinking about the fact that she said you should go on a hot girl, walk for weeks. And I love to walk. I love to walk around my neighborhood. I love to take a stroll. I love to take an urban hike. Urban hike means you're walking through the city.   Grace Yes. She doesn't like a regular hike.   Amy And that's my sh--. I don't like a real hike. Grace knows this. I will do a hike, but I won't repeat a hike. And so this week, like, I've been traveling so much, I'm so tired, I'm still jetlagged from going to India. And so I decided that I was going to walk every day for exercise. And that fell apart real quick because I said, haha you thought and it started raining every morning and so I couldn't walk. But before the day it rains I went for a hiker walk. And the reason why this walk was a hardcore walk to me is because I made a point to walk with a smile on my face, which is really silly. But I was like, I've like really I've been so stressed. And I was like, the corners of my mouth are hurting. Like there was a day where I was like, What's wrong with the corner of my mouth? And I realized I'm actually frowning and I'm like, Oh, f--- this. This is how you get wrinkles. And B, I just think it's stress. It's just like exhaustion and stress and travel and all the things. So I went on this walk and I was like, I'm going to take this walking, I'm gonna smile. And I was listening to this woo woo book while I was walking and just smiling while I'm on my on my little stroll. And I walked all the way up to my viewpoint. There was like a beautiful view above my neighborhood where you can just see, like, west l.a. Like, spread out before your eyes. And I walked all the way up there, and there were some men up there who were, like, just, like, chillin, like, because there's also, like, a sports area. So maybe they're about to play some sports. BELL But at any rate, I stopped up there and I was like, I happen to be a hetero female who's attracted to men. So I saw these men and they were good looking and I was like, Here I am with my little smile on my face up here being a hot girl. And I was like, I didn't interact with them. I was like, they could be, you know, terrible. So I was like, I'm not going to interact with them, but I at least got to just, like, be cute and walk past them like athletic men and then continue on the walk. And I was like, this was a hot girl walk. So I started my day. That day feels so good. And I did the silliest thing. I sent like a video of one of my friends being like, I'm going to walk every day this week. I felt so good. And then the next morning it rains. And I think on video being like, I am walking today, bitch.   Grace How come you didn't send me that video? Who's this bitch? Just sell it. Send a video. That's what I'm saying. Just cause I'm gone. Just because I'm in New York City. This is the reason why I got to get back to L.A.. All my friends are forgetting me that.   Amy I'm like, I can't-   Grace My phone still works. So why.   Amy I can't bother Grace, she's on set. I can't just send her this video of me being like, I love walks. She would have been like bitch I've been up since 3 a.m.   Grace Yes, I would love to get that video. Brighten my day for you that I'd be an antidote. So that's what you did.   Amy Yes. Well, if you guys tried any of our antidotes at home, share them with us using the hashtag. That's my antidote. Or leave us a voicemail at 8336, 8436, eight three. Stay tuned. You'll hear more from our live show right after this break.   Grace Our guest today ain't new to this comedy. You know, he is a stand up comedian and actor who just finished costarring and writing on the first season of Freeform's. Everything's Trash with Phoebe Robinson. He co-hosts WNYC Adulting podcast with our friend in Queens, Michelle Buteau. He has also written for HBO Divorce, written and performed for Comedy Central's The Nightly Show with Larry Wilmore and Recipes First Wives Club. Please welcome the amazing Jordan Carlos.   Jordan Carlos Good knees, good knees. That's what it's all about. And I feel sorry for the people standing in the back.   Amy No, don't apologize.   Jordan Carlos All right. How's it going? Brooklyn. How we doing? Yeah, I'd like to. I'd like to applaud the people that came early over here. Look at this man. It's modest, but so smug. So smug. Got the good seats. Got the good. Good. Hello, love. Gosh, it's just so good to be here. Surrounded by this black excellence on stage.   Grace I hope you're including yourself upon that number that.   Amy She worked with Jordan this week. He's being very humble. He is an amazing actor and so, so funny. And I got to direct him this week. And I got to tell you, I was a tyrant and he handled it well.   Jordan Carlos Yeah, yeah. What have you. What if I said you were she was in one of those, like, elevated seats, right? Like with a crane. But you were you.   Grace She does like to beat people.   Jordan Carlos She was in this really like, official jumpsuit. You are the official ass jump director. She's like, is she directing Apocalypse Now? Like what?   Amy That is right. I need people to know that I came to work.   Jordan Carlos Work it, but you were great. And I was like, there was one little small scene. Hey, everybody, welcome. You know, if you don't know anything about Hollywood, this is how it works. This is how it works. So you have to be an actor has to be directed, right, to do what they're supposed to do, my dumb ass. I didn't get out of the way. Right? I was like, you're like talking. You say your line and you walk the f--- off. Got it. But I just stayed in the studio, you know?   Amy I can see you. That was. That was my fault. That was my.   Jordan Carlos You know what? It's no one's fault.   Amy You're right. It's Hollywood. It's Hollywood.   Jordan Carlos It's Hollywood. Yeah, well, I had to be here.   Amy Yeah. Thank you so much for coming. It means so much to us. And we're both jointly obsessed with you, as are a lot of people in this audience.   Jordan Carlos So that's very sweet.   Amy Yes. You are the co-host of WNYC, his podcast Adulting, where you provide real life advice. And the quote reads with a heaping portion of hilarity topped with a dollop of truth.   Jordan Carlos Who wrote that.   Amy Yes. I mean, I assume it was you.   Jordan Carlos I swear to God I did not write that.   Amy Okay. Well, Michelle,.   Jordan Carlos In a showing of earnestness. And just like a missed. Misting of your heart.   Amy Yeah, well, as the audience entered tonight, we asked them to write down some questions that the three of us will give real life advice to help solve.   Grace Yeah.   Jordan Carlos I am not an expert. I do love how this guy's arms crossed when you're in the front row and non-verbal. F--- you to start the whole thing. And don't blame me. Don't say it's cold.   Amy No, we read the energy.   Jordan Carlos I do. This guy has Roman emperor energy.   Amy We got to work harder to win your love. don't worry.   Jordan Carlos Come and just relax. So everybody just open up your butthole. We're going to.   Amy Everyone release the anus, and let's just answer a couple of what we got. So first up, first up, and if you some people ask these questions, it might be out getting a drink. But if you are here and this is your question, just give us a little cheer. This first one is I was just offered my dream job in L.A., but my partner doesn't want to leave Brooklyn. Oh. How do you find balance between sacrificing and settling?   Grace Leave him.   Jordan Carlos Wow.   Amy Settling.   Grace Leave him. Drop him off leave him.   Jordan Carlos If you have your dream job. I don't know how how long you've been going out with this person, but if you have your dream job, you will work it out with that person. If relationships are all about like, you know, I've been married for 15 years and if you're married 15. Yeah, I know. Impressive. Impressive.   Amy Wow. Wow, it is 15. Yeah.    Grace Came out the womb married.   Jordan Carlos Came out, in some cultures, that's what we do. Yeah. I think what it is all about, what it's all about is, like, just kind of like figuring out that you want to be in it and you want to be in it every day and not leaving it to chance. Then you will remain in it. If this person like lets you go, not lets you go, go do your thing. Yeah. And see where the chips fall. But make sure that you keep a line and a tethered to that person and make sure that they're a part of it and make sure that you're honest with them about what's going on. You if you like it, if you don't, if you regret it, if not, if you want to stay in it. If you don't, you know what I'm saying? Like you might go out there and figure out that your dream job wasn't all it was cracked up to be. Oh, it's time to come back. Oh, no. But you know who will be in your corner every step of the way? Brooklyn boy. Also, you didn't talk about the dark side of the f---ing person that.   Grace That is something that you do need to know.   Amy She did say settling. So it makes me think that the D is medium to small.   Jordan Carlos Is it is it shmedium? Is it like a short medium?   Grace I'm sorry, I, I mean, my resting advice is I was like, leave you. Yeah. No, but I mean, I do think it's like, first of all, you do need to know, like, how long, like, they've been together and like how deep you are in. And there are some bitches that are career bitches like myself, and there are some girls that, you know, prioritize love and relationships. And you just have to be honest about which type of girl you are, you know.   Jordan Carlos Truly truly.   Amy Yeah, that's really good advice.   Jordan Carlos I know what kind of girl I am and.   Grace I'd like to hear it.   Jordan Carlos It's like we're going to. I'm like, if I can make it happen and split myself in half, I will do it because it's worth it. Yeah. Because I feel like it's just Jordan. Cause I'm just saying. I'm just saying you. You may be remembered on this planet for the things that you do and and and make your mark artistically, creatively, in business. But if you have a love that that respect, you hold on to God.   Amy Did you write From scratch on Netflix? That is beautiful.   Grace Convict me, Jordan.   Amy That is beautiful. Wait, I got to move on to the next question. You want the next question? Yes. So question and again, give a little woo. If it's your question, I want to expand my circle and become one of those people who can get dropped into a party and befriend anyone. But it's not really in my nature. Hashtag introvert. What should I do?   Grace Oh.   Jordan Carlos The extroverted introvert?   Amy That's me. You. I'm an introvert.   Jordan Carlos You're an introvert?   Amy I'm. I'm such people would never guess because I'm like, loud and talkative. But when I get home types, how we're off. Yeah, like, I get home and I just like, right. I literally am a secret introvert. I'm such an introvert. When the pandemic, when everything shut down, I was like, This is nice. I don't have to go anywhere. I was fine. I was like, I like it in here.   Grace I was just.   Jordan Carlos Like, if that is your if that's your jam, you need to host more parties.   Amy Yeah. Oh, you're the middle of the party. If it's your party.   Jordan Carlos To be the host or, you know, better be The Great Gatsby. Have the party. Don't show up.   Grace You will be remembered forever. Very, very good advice.   Amy Yes. Okay. Next question. I'm going to do four because these are good. This one I love the most. Give a little woot if it's yours. I need money, but I don't like working.   Grace Gets you somebody rich to marry one.   Jordan Carlos That's the end of it. I need money, but they don't like their wellness shot.   Amy What's the thing that makes them feel better?   Jordan Carlos I need money, but I don't like working. That's. That sounds like the beginning of a beautiful traps to focus on, like working and.   Grace Get some rich, rich rich.   Amy Do you agree with Grace? Just get someone rich. Is that the answer.   Jordan Carlos I would say get someone rich or understand how to manipulate the market.   Grace Or be like a Fyre Festival person.   Amy Oh yes.   Grace Start a scam. Scam somebody.   Amy But scamming is work.   Grace It is work it.   Amy That guy who started we work. What a scam. But he was working. Yeah. He had to take meetings and get investors. Scamming is work.   Grace It means you have to send out like lots of emails about being a price or something.   Jordan Carlos Mostly it's just like the laws that keep scammers back. Same, whatever. Right.   Grace Yeah. So it feels like just get a rich boo.   Amy I think that might be the answer. If you like money and don't like working, get a rich bill. Yeah.   Jordan Carlos I can't. I really can't help you there because this face, I got to work, you know?   Grace No. And a very handsome face.   Amy Everyone is someone's cup of tea. You just haven't found the rich woman.   Jordan Carlos You sound like my mom. Like the African proverb. There is a lid for every pot.   Amy The lion. The lion cares for the antelope. Okay. All right. Last question for you guys. Okay. Oh, this. Oh. How do you deal with the loneliness that comes with your friends all being in relationships? Oh, wow. These are deep guys. I love these questions.   Jordan Carlos Damn. Damn. How do you deal with the loneliness that comes from your friends all being in relationships? Good question. Great question.   Amy Oh, my God.   Jordan Carlos On a long enough timeline, those relationships will end. And.   Amy Rooting for the failure.   Jordan Carlos No, I'm just. I'm.   Grace Well, 50% of marriages do end in divorce.   Jordan Carlos The other 50 percent end in death. Now. I think this like, you know, those rom coms where it's like somebody tries to stop a wedding, like they're like, I got to stop this. It's like trying to stop a bus with your face. Like, don't do it. Don't stop Americans. Marriage will stop by itself. Okay? I've seen it happen way too many times. I've seen it happen way too many times. Right? Yes. I feel like this like like do not become discouraged by that. You know, let your friends live their life. Yeah. They're going they're out doing what they're doing. You should be doing what you're like, what you're doing. Do the things that they can't.   Amy Oh, make them jel, jel.   Jordan Carlos Make them jealous. Go to a bar, you know, go to a rock climbing thing in like five in the afternoon.   Amy Yeah. I'm saying you're like, I took a nap in the middle of the day because I don't have kids.   Jordan Carlos Mean we see everything on Netflix like you're in a relationship, you have to like. Check with the person that yeah.   Jordan Carlos I watch the show so now. White Lotus was supposed to be ours and.   Amy Relish the fact that you're single. It's better out there.   Jordan Carlos Enjoy it.   Grace Well, I would say that I think that it's not.   Jordan Carlos It's all, it's all. You know what I feel like it's grass is greener on the other side. It's all about what you know. It is hard to be single. Of course.   Amy Of course. Of course. Yeah, I.   Jordan Carlos Sharing all you know, sharing everything. Sharing all the coffee, sharing all the coffee.   Amy Sharing the toilet.   Jordan Carlos Sharing the toilet, sharing the goddamn toothpaste. You know, all that and. All. This other. What's wrong with sharing toothpaste?   Amy I thought you said toothpicks. I'm so sorry. I was.   Grace That would be f---ing nasty.   Jordan Carlos Well, who has toothpicks in their house? What in the Tony Soprano's, it's. It's got to be stuff in the house.   Amy No grass is always greener.   Jordan Carlos But grass is always greener. But you know what? If you like to. If you like. Yeah. And you enjoy your own company. Yeah. As you said, Amy, I enjoy my own company. Lord, when my kids and my wife are out the house, I'm like, I'm single. I'm like Tom Cruise in that movie, like gang, gang, gang, gang. Oh, my God. My hips are so good. All right, so.   Grace The hips don't lie.   Jordan Carlos The hips don't lie. That's a lot of yoga you want to talk about your. And it. My antidote. My antidote is yoga. Wow. Yes, that's right. My wife doing it so much, I was like, I want to live a long time, too. So I got to open. Gentleman.   Amy Men die sooner.   Jordan Carlos Your hips are not open, sir.   Amy Open them up.   Jordan Carlos This guy is forward, like he;s taking a sh--.   Amy Right there.   Jordan Carlos You were totally dragged here, weren't you? Well, whose. Whose idea was it? It was her idea. Na na na na. Yeah, that's right. Know. He's like, if I endure this, maybe they will be sexy.   Amy There will be, there will be. There will be. Yeah, there will be. Guys, guys.   Jordan Carlos I know too much.   Amy This this has been an amazing wellness session from Jordan Carlos. The one. The only the me champagne.   Grace Yeah. Thank you so much, Jordan.   Jordan Carlos Amazing. Goodbye.   Amy Bye, Jordan. Thank you.   Grace Thanks for listening to The Antidote. We hope this injected a little bit of joy into your week. I know it did mine. How about you, Amy?   Amy I feel good, girl. We should do this again sometime. Oh, we'll be here next week.   Grace And in the meantime, if you'd like to follow us on social, follow me. Grace. At Gracyact. That's G-R-A-C-Y-A-C-T.    Amy And follow me. Amy at AmyAniobi. That's A-M-Y-A-N-I-O-B-I and follow the show at theeantidotepod.   Grace That's thee with two E's.   Amy If you like feeling good about yourself, please subscribe at Apple Podcasts, Spotify, or wherever you get your podcasts.   Grace Goodbye.   Amy And when in doubt, do it live. The Antidote is hosted by us Amy Aniobi and Grace Edwards. The show's production team includes senior producer Se'era Spragley Ricks and associate producer Jess Penzetta.   Grace Our executive producer is Erica Kraus and our editor is Erika Janik. Sound Mixing by Alex Simpson.   Amy Digital Production by Mijoe Sahiouni. Talent Booking by Marianne Ways. Our theme music was composed and produced by TT The Artist and Cosmo the true.   Grace APM Studio executives in charge are Chandra Kavati, Alex Schaffert and Joanne Griffith. Concept created by Amy Aniobi and Grace Edwards.   Amy Send us your antidotes at Antidoteshow.org, and remember to follow us on social media at theeantidotepod.   Grace The Antidote is the production of American Public Media.   Amy Woot woot.

In this week's episode of Living in the Sprawl: Southern California's Most Adventurous Podcast, host Jon Steinberg shares his list of 10 distinct examples of googie architecture in Southern California. His list includes: Bob's Big Boy Broiler in Downey, Mel's Diner in Sherman Oaks, Union 76 on Cresent Drive in Beverly Hills, The Theme Building at LAX Airport, Bob's Big Boy in Burbank, the oldest McDonald's in Downey, Chips Restaurant in Hawthorne, Norm's on La Cienega in West Hollywood, Pann's in Westchester and Johnnie's Coffee Shop in Mid-Wilshire.Instagram: @livinginthesprawlpodcastEmail: livinginthesprawlpodcast@gmail.comWebsite: www.livinginthesprawlpodcast.comCheck out our favorite CBD gummy company...it helps us get better sleep and stay chill. Use code "SPRAWL" for 20% off.  https://www.justcbdstore.com?aff=645Check out Goldbelly for all your favorite US foods to satisfy those cravings or bring back some nostalgia. Our favorites include Junior's Chessecakes from New York, Lou Malnati's deep dish pizza from Chicago and a philly cheesesteak from Pat's. Use the link https://goldbelly.pxf.io/c/2974077/1032087/13451 to check out all of the options and let them know we sent you.Use code "SPRAWL" for (2) free meals and free delivery on your first Everytable subscription.Support the podcast and future exploration adventures. We are working on unique perks and will give you a shout out on the podcast to thank you for your contribution!Living in the Sprawl: Southern California's Most Adventurous Podcast is on Podfanhttps://www.buymeacoffee.com/sprawlSupport the show

This is curated chill, the aspire design and home podcast. I'm Josh Cooperman, director of broadcast media for Hudson One Media and this week, we are continuing our coverage of the Legends of La Cienega, the annual event produced and … Continue reading →

This is curated chill, the aspire design and home podcast. I'm Josh Cooperman, director of broadcast media for Hudson One Media and this week, we are talking about the Legends of La Cienega, the annual event produced and presented by … Continue reading →

We welcome Jann Karam. Jann played Sandi, Jerry's girlfriend in the Season 6 episode of "Seinfeld" "The Switch." Jann is a stand-up comedian, actor, writer and artist. You have seen her on "The Tonight Show with Johnny Carson," "The Late Show with David Letterman," and "Mad About You." Her award-winning Castle Rock produced short film "Under the Big Muu-Muu" is about her mother's irritating and funny weekend visit. She has written and performed a critically acclaimed theatrical solo show, "Reclining Nude on La Cienega." Social: https://linktr.ee/ThisThirsty Jann: https://www.jannkaram.com "This Podcast Is Making Me Thirsty" is The Place to Be for "Seinfeld" fans. We are the #1 destination for all things "Seinfeld," the last, great sitcom of our time.

Matt sits down with Dave Schilling as they talk about the creativity of suit fashion, the artistic merits of pinball, and Dave also talks about a famous Ed Ruscha painting

On this bonus episode, the guys are joined by Tre and Earl to talk about their thoughts on Season 2 of Wu-Tang: American Saga, the 20 year anniversary of The Blueprint, Ja Rule & Fat Joe Verzuz, and Nicki Minaj's outrageous comments. Tap in! Follow, RT, Like, Share & Subscribe! @ShowYourWorkNet @GuessFromThePod Banks: @banksnorest2 Nelson: @whoisoriginel Marcel: @MarcelG1017 DJ Larry: @DJLarry0093 Tre: @2LsYungin Earl: @Earl_Got_Sole *Produced by @banksnorest2*

Good Morning, Colorado, you're listening to the Daily Sun-Up with the Colorado Sun. It's Thursday August 26th.   Today - Between rising housing costs and a lack of affordable child care many rural school districts are struggling to hire new teachers, and keep existing ones. One approach to addressing this problem is by opening up child care centers of their own.   But before we begin, let's go back in time with some Colorado history adapted from historian Derek R Everett's book “Colorado Day by Day”:   Today, we take you back to August 26th, 1776 when a Spanish expedition consisting of two priests, a cartographer, two aristocrats, and five other men arrived at an area on the Uncompahgre River. They named their campsite “La Cienega de San Francisco”. It still stands today on the south side of Montrose near History Colorado's Ute Indian Museum.   Now, our feature story.   Some rural school districts in Colorado are struggling to hire and retain teachers because of a double-whammy of soaring housing costs and a lack of affordable child care.    Faced with chronic staffing shortages, some have decided to open up child care centers of their own in an effort to attract more teachers. Colorado Sun reporter Shannon Najmabadi and Erica Breunlin recently spoke with staff and administrators at local schools to find out more.   Najmabadi and Breunlin talk with fellow Sun reporter Daniel Ducassi about what they learned.   To read Shannon and Erica's article, go to coloradosun.com   And Before we go, here are a few stories that you should know about today:   Beloved Hanging Lake may be mostly off limits to hikers for the next year, but Forest Service managers see opportunity in the hiatus created by massive mudslides in Glenwood Canyon. During a walk up the trail ruined by mudslides the managers said they expect to create a more sustainable trail to the travertine lake that will be better able to handle the crowds of hikers that visit this year. About 15,000 reservations to hike the trail were canceled when the trail was closed earlier this month. The company that manages them said many people are opting to contribute their $12 fee to the trail rehab work.   Colorado voters will decide in November whether to raise marijuana taxes to boost out-of-school learning. The Colorado Secretary of State's Office ruled Wednesday that supporters of Initiative 25 gathered enough signatures to secure a spot on the upcoming ballot. Backers of the Learning Enrichment and Academic Progress Program Initiative, also known as LEAP, easily met the 124,632-signature threshold to qualify for the 2021 statewide election. The initiative would impose a new 3% sales tax on recreational marijuana starting on Jan. 1 and increasing to 5% by Jan. 1, 2024. That's in addition to the existing 15% state sales tax on recreational marijuana.   Colorado has only paid out about 7.4% of the $444 million in federal rental assistance funds it had available. The amount of money being paid out is increasing monthly, but the state has hired a new payment vendor to get the money out to tenants and landlords who have been waiting for months for help. Including the $246 million local governments had to hand out, the state started with almost $700 million in federal aid available to people at risk of eviction.    For more information on all of these stories, visit our website, www.coloradosun.com. And don't forget to tune in again tomorrow for a special holiday episode. Now, a quick message from our editor.   The Colorado Sun is non-partisan and completely independent. We're always dedicated to telling the in-depth stories we need today more than ever. And The Sun is supported by readers and listeners like you.   Right now, you can head to ColoradoSun.com and become a member. Starting at $5 per month for a basic membership and if you bump it up to $20 per month, you'll get access to our exclusive politics and outdoors newsletters. Thanks for starting your morning with us and don't forget to tune in again tomorrow.   See omnystudio.com/listener for privacy information.

What message do we take home from this?Support the show (https://www.paypal.me/BaisBezalel)

Dropping some major knowledge on our sisters this week re: chasing guys. We don't do it anymore. Period. Definitely listen to this episode if you're craving some chaotic La Cienega weekend recap energy and want to hear about a recent (and relatable) experience we had at Cheesecake Factory. Until next week sisters. WE LUV U   Follow us on IG: @heresthethinggg SHOP OUR MERCH SUBSCRIBE TO OUR YOUTUBE CHANNEL

In this week's episode, the We Know WeHo takes us back to the not so distant past of the glorious days when West Hollywood's was the OG fitness mecca anchored by a grungy gym hub called Todd Tramp's that was located on the corner of La Cienega and Melrose Avenue. These are the days long before reality television, when Bob Harper was sweating away teaching insane choreography in his step classes and where the craze of indoor cycling was arguably birthed with the likes of Debbie Rocker, Andrew Lawent and Gunner Peterson sweating away on in a packed room in the dark riding to the rhythm and tapping it back - “spinning” on an indoor stationary bike. This week's guest, Janet Fitzgerald, was in the thick of the first wave of notable instructors who were teaching these sold-out jammed packed indoor cycling classes. Janet was the owner of the beautiful zen Body and Soul Workout that sat above the Ramada Hotel for ten years where locals would sweat next to celebrities whilst Janet lead them on a spiritual soulful musical journey as they peered down on Santa Monica Blvd through the serene Japanese grass that lined the windows of this sweat sanctuary. In 2010, Janet left Los Angeles for another “soul” located on the East Coast - SoulCycle. Janet shares with Tracy an insider view of her story, but more importantly how her personal journey correlates to her role as the Senior Training Officer of the company where she has trained over 400 instructors as the big yellow wheel emerged and created the second big wave of indoor cycling that swept across the country with over 99 studios. The fitness business has been one of the hardest hit during the pandemic, and it seems we still have a long wait for packed indoor group classes to resume (at least here in California) as outdoor classes are being held in pop-up locations. Janet gets real with Tracy about the impact on her and her fellow instructors and employees, and shares her optimism about the company's future with a newly appointed CEO. Janet relocated to Los Angeles for the winter months where she continues to teach inspiration, hope, and healing one pedal stroke at a time. Check out Janet's SoulyCycle classes at the Century City Mall and Santa Monica Promenade outdoor locations. You might also want to give a listen to her podcast “Witch and Famous” that is the inspiration behind a spiritual transformation media project in the works. SHOW NOTES & LINKS: Janet Fitzgerald SoulCycle Classes Janet Fitzgerald Instagram @spinpimp Witch & Famous podcast Regarding Her 10 Day Food Event All Day Baby in Silver Lake Lady and the Larder Cheese Shop Jitlada Thai Socalo Molly Baz Meatloaf sandwich at Belcampo Meats

Florence Byham Weinberg on Breaking it Down with Frank MacKay - La Cienega by Frank MacKay

On this ep: TJ's, Nutrisystem, Kanye on Joe Rogan, Voting, Cults. Reminder: BORAT 2 and Kill BIll for Friday ep. --- Support this podcast: https://anchor.fm/adhdcast/support

This week, Tracy and Maxine welcome Tom Kiely, CEO of Visit West Hollywood, to the show this week to talk about tourism to the Creative City. We explore how the pandemic has been the mother of (re)invention through the eyes of the man who has the primary responsibility of having tourists swipe right on WeHo when thinking about their next vacay .. or staycay. Asking Tom to pick his favorite WeHo spots is like asking a parent to pick a favorite child. But this week - here are some of his nominees: The Den: This lively restaurant on the Sunset Strip is the neighborhood bar to people from all over the world. With the best ingredients and energetic atmosphere found only on the strip, Tom's menu picks are the burger and the chicken sandwich. The outdoor patio is a must-dine. The Pendry: Tom, Tracy and Maxine are all excited to see The Pendry open its doors to visitors and locals alike. Self described as Polished Comfort. Modern Edge - this new luxury offering will boast two Wolfgang Puck restaurants (he's baaaaacckkkk) and beautiful artful environments. Zinque: WeHo boasts an 87 walk score (very walkable!) and Tom often walks to work. He likes to grab a coffee from this Melrose outdoor bistro serving French fare such as charcuterie platters, open-faced sandwiches & quiches. The girls like it for a glass of afterwork rose. Gracias Madre: Born out of love for Mother Earth and reverence for all mothers, this beautiful space features traditional plant-based Mexican cuisine. Upon first taste, Tom couldn't believe it was veggie based (the jackfruit really does taste like pull-pork!). The last influencer event Maxine attended was held in the photogenic outdoor courtyard. West Hollywood Eat and Drink Week is back on the heels of DineLA for it's second year running starting next week on October 23rd running through November 1st. Diners can find great dine-in, take out or delivery deals at their favorite West Hollywood places to dine such as Boa, Cecconi's, Cavatina, Eveleigh, Katana and even Shake Shack. If you feel like getting your namaste on outdoors, the newly opened Sweat Yoga located in the Sprouts building is offering rooftop classes in the morning and late evenings with a gorgeous view extending in all directions across West Hollywood. La Cienega appears to be attracting the likes of businesses looking for flagship locations not only in the US but also as a footprint for West Coast operations. Dries Van Noten opened its doors last week at the former Opening Ceremony location at 451 N. La Cienega filling over 8,500 sq feet with a retail experience that is unlike any other with an art and performance space vibe. West Hollywood will have a third woman's space joining The Wing and Allbright with Chief selecting 714 La Cienega Blvd as the second city location for C-level and rising women VP's looking for a place to network. The club will occupy a huge 14,259 sq foot space and bring some life to the very listless Los Angeles side of the LCDQ.

It's October and the beginning of Fall season in between the seasonal heat waves, and the hosts of We Know Weho ask if there any weather that isn't pizza weather? Pizza is a thing, a big thing, even in West Hollywood where all the options under the sun are available including gluten-free and cauliflower crusts. October is, after all, National Pizza Month and Lauren is back on the mic and in the co-host seat this week with Tracy to give us the complete run down of her favorite cheesy pies. Lauren is a native New Yorker and right off the bat her pick for best NY pizza goes to Joe's Pizza's location at 8539 Sunset Blvd, with a very simply put endorsement from Lauren, "If you don't like Joe's PIzza...there's something wrong with you..". Just a little east on Melrose, family owned and run Black Bird Pizza Shop is Lauren's pick if you are in the mood for Chicago-style deep dish pizza. The two are in total agreement about the breakfast pizza from Jon & Vinny's on Fairfax with the fried egg on top - a true art and mark of a refined pizza maker according to these two experts. Lauren's surprise pick is the local West Hollywood Domino's on La Cienega with a strong vouch coming from Keith Kaplan for the deep dish topped with pepperoni, black olives and jalapenos and light sauce. She is not conflicted in the least bit about this very speedy delivery pick with a tip to download the app for ease of ordering and tracking your order to collect a free pizza for every six ordered. Tracy throws in her favorite "calorie worthy" pizzas from Pace Joint and local famous Chef Nancy Silverton's Pizzeria Mozza, but Lauren's top pick and front runner is awarded to....... Prime Pizza NEIGHBORHOOD: We get caught up with what's going on in the neighborhood on Lauren's walking jaunts for a Melrose Place update that Nordstrom Local is open but next door flashy instagram favorite neighbor, Glossier, has closed its doors on their flagship retail location. The Naughty Pig on sunset has expanded and partnered with some cool food concepts to offer its patrons food that you wouldn't think you would get in a sports bar. They are offering something for not only the sports fan, but also food fans that are not diehard sports fans with culinary pop-ups from Frogstown Gourmet Tacos, Soosh, K-24 and the Bad Jew. Although the infamous Halloween Parade is cancelled this year, C19 can't stop Halloween in Weho and local events are starting to pop up as The Rainbow is first out of the gate with a Halloween Costume Party on October 28th. Save Our Stages is doing a benefit concert to help raise funds for live venues that are not getting financial assistance from the federal government and pegged to be the last to open due to the pandemic. SAVE THE DATE for October 16 - 18th for this fundraising event to help benefit participating local West Hollywood live music venues, the Troubadour and Whisky A Go Go, featuring a range of artists including Miley Cyrus, Foo Fighters, Jason Mraz, Little Big Town, Dave Matthews Band, Reba McEntire, Demi Lovato and more.

Laurie Keith is Vice President of Media, Social & Emerging for the Ad Council, “where creativity and causes converge.” The Ad Council, a non-profit organization, coordinates “contributing partners” to address the most important issues in the US and globally, including social and environmental concerns and national crises.  Laurie started her career working with big media agencies, but her heart was in her volunteer work. Joining the Ad Council in 2010 allowed her to meld her love for media strategy and planning with her passion for social good. Today, she manages the organization's relationships with major media, tech, and entertainment companies, including large tech platforms: Facebook, Instagram, Twitter, Apple, Amazon, Pinterest, Reddit, eBay, and Twitch.  Since its start in 1942, the Ad Council has, over the years, produced many iconic messages. Two of the earliest were: “Loose lips sink ships” (a wartime reminder that divulging sensitive information could result in American deaths) and Smokey Bear, (who always seemed to be saying, “Only YOU can prevent forest fires.”) Other iconic messages include: “Friends don't let friends drive drunk,” Crash dummies, and the current “Love has no labels.” In this interview, Laurie explains how the Ad Council's partnership model works and how it has grown:  Nonprofit and government agency “issue experts” need help to communicate critical messages to their target audiences.  U.S. creative agencies (and the Ad Council's Creators for Good team) donate time to develop creative strategy and content  The Ad Council deploys this information to media volunteers The media volunteers provide pro bono digital “real estate” – the platform Today, these large media companies often contribute on creative side as well, honing material to produce platform-optimized messages. Before the COVID-19-precipitated cancellation of the South by Southwest 2020 conference, Laurie was scheduled to moderate a panel, “Marketing in the Age of Digital Community,” exploring the power and rise of digital communities. Here, Laurie discusses the power of Reddit, a community where anonymity opens the opportunity for people to more freely talk about sensitive issues, and the potential gains (and caveats) for brands that decide to work in that space.  Laurie talks about how the Ad Council's current “Alone together” message, encourages social isolation to slow the spread of the Covid-19 pandemic while communicating that doing so brings people into a “group” taking action together. Alone. But not alone. Laurie says she has been thrilled with the level and depth of brand involvement in communicating COVID-19 information to various audiences. Laurie can be reached on Twitter @lauriekeith, on Facebook at: https://www.facebook.com/adcouncil, and on LinkedIn at: https://www.linkedin.com/company/the-advertising-council/. The Ad Council offers an audio/video/print “finished content” COVID-19 information toolkit for people or organizations with outreach capabilities at: coronavirus.adcouncilkit.org.  Transcript Follows: ROB: Welcome to the Marketing Agency Leadership Podcast. I'm your host, Rob Kischuk, and I'm excited to be joined today by Laurie Keith. She's the Vice President of Media, Social & Emerging for the Ad Council based in San Francisco, California. Welcome to the podcast, Laurie. LAURIE: Thank you so much for having me. ROB: It's fantastic to have you here. I think a lot of people, the name “the Ad Council” is familiar to them, but they might not be able to tell you off the top of their heads what it is, how it operates, what the deal is. I think people don't even realize how many iconic campaigns the Ad Council is associated with. So why don't you give us the big picture of the Ad Council and what the Ad Council excels in?  LAURIE: Of course. We like to say the Ad Council is where creativity and causes converge, put simply. We are a nonprofit organization. We've been around since 1942, and we bring together unique convening partners from the creative minds in advertising, media, technology, in order to address the nation's most important causes. We convene all of the partners that we have in all of those industries to tackle the country's toughest issues. We are a national nonprofit, so we're really focused on issues at home. Of course, if there's an issue of global importance, we also will take those on as well. It's a really unique intersection in that we're able to work with the nonprofits and government agencies – they really act as the issue experts – and our “clients” – the media, technology, marketing industries – in an effort to get these critical messages out there to the audiences that we're trying to reach. And then the advertising creative industry are really tasked with developing and coming up with the creative that you see out there. As you alluded to, we have created some of the most iconic campaigns in advertising history, from “Friends don't let friends drive drunk” to Smokey Bear. Our most iconic campaign right now I think is “Love has no labels.” We really are the convener, as I said earlier, to bring everyone together so that we can make sure we're getting these critical issues out there.  ROB: For sure. And even I believe going all the way back to Rosie the Riveter, at the origin? Is that right? LAURIE: That was up for debate for quite a long time. [laughs] I don't think we can claim that one, but our very iconic campaign was “Loose lips sink ships” back in World War II era. That was I think one of our first campaigns, along with Smokey Bear. ROB: Crash Test Dummies, McGruff, do you get to claim those? LAURIE: Yep, Crash Test Dummies, McGruff the Crime Dog. Those are also our iconic campaigns. I should mention we have a long history of creating campaigns in times of national crisis. I just mentioned World War II; we had a big September 11th “I am an American” campaign. Also, any time there's a natural disaster like Hurricane Katrina, Hurricane Sandy. And of course, our most recent efforts that we have on the ground right now to spread awareness on the slow of the spread of coronavirus, COVID-19. We're currently spinning on all cylinders getting those messages out to the public. ROB: It's quite a charge to make these memorable and meaningful campaigns. I don't think a lot of people would think about having interesting and memorable government advertisements, but yet that is a place that the Ad Council has absolutely excelled. Let's dig a little bit into your own journey. How did you come to be at the Ad Council in the role that you are in now? LAURIE: In my role as Vice President of Media, focusing on social and emerging, I really work in this unique intersection of the tech media industry, and I manage our relationships with major media, tech, and entertainment companies, using their platforms to develop largescale, innovative, social good partnerships. I oversee our partnerships with Facebook, Instagram, Twitter, Apple, Amazon, Pinterest, Reddit, eBay. I'm always worried like I'm missing someone. Twitch is a big one. A lot of the large tech media platforms really fall under my huge umbrella. Your question was how I got here. Prior to the Ad Council, joining 10 years ago, I worked at big media agencies. I started my career at Starcom MediaVest Group in Chicago, and then I moved to Los Angeles, where I worked for Mindshare, working on the Ford Automotive account, and then moved over to Initiative, where I worked on the Carl's Jr./Hardees QSR account. I reached a point in my career 10 years ago where – I went to school for advertising, I went through the media track; I really loved media. I've always been super interested in media as an industry. I was really enjoying the strategy that went behind building a media plan, understanding the specific targets and how they're consuming media and what we need to do creatively in order to get the message in front of them at the right time so they're going to take the call to action that we need them to take. But my client at the time, as I was going through this life shift, was a fast food restaurant. So, I was realizing I was doing such cool, innovative partnerships – I did one of the first text messaging campaigns for Carl's Jr./Hardees – but I was not really passionate about the brand that I was working on. It was like getting men 18-49 to continue to eat fast food hamburgers. I was also doing a lot of personal volunteering and helping out a lot in my local community in Los Angeles. I reached a point where I was like, how do I work in social good and help people, but also continue to work in advertising and media? Because I love how this industry is constantly changing and there's new technologies coming out all the time. So, I was trying to figure out how to bridge the two together. It was a long journey, which I won't get into on this podcast, but I ended up getting accepted to the United States Peace Corps, and I was thinking about going to – they wanted to send me to Kazakhstan to do youth and community development, and I was going to be the only Peace Corps volunteer. My parents are usually really excited about all of my adventures and ideas, but they were like, “Is that really what you want to be doing?” I was at the point in my career where if I were to leave to do something like, it would probably drastically change the course of my career. That was when I found the Ad Council. I was driving down La Cienega in LA. I was driving down a street that I normally wouldn't have been, but I was on jury duty during this time, so I was doing a lot of things and doing a lot of soul-searching, trying to figure out my next steps. I passed this billboard, and it was right after the Haiti earthquake, and it was a partnership that the Ad Council had with the Red Cross. It said “text (whatever) to donate to the Red Cross to help with the Haiti earthquake efforts.” It was just one of those lightbulb moments. I've had a couple in my life, and I'm grateful that the Ad Council really came to me in this way. It was like, “Who is the Ad Council? Maybe you should look into what they're doing. Clearly, they have this big billboard on La Cienega, and maybe they're a company that you should look into.” Everything just was clockwork after that. I reached out to the person that ended up becoming my boss and let them know that this was really my passion. My passion was social good, but my talent, so to speak, was media strategy and planning, and “I would love to come in and talk to you.” That turned into an informational interview, which turned into they were looking for someone with exactly my experience, which was local and national media strategy. Also, at the time in 2010, Ad Council was really starting to build out their partnership model. Of course, we've always worked off of a donated media model, and we run all of our PSAs through donated media, which we're so grateful to get from the industry. But at the time, the partnership model – which is “How do we develop custom content together? How do we bring in a measurement study? How do we develop an innovative product that can help get the message out there?” – that was when they were starting to think in that vein, and that was really what I wanted to be doing for them. So it was just a perfect timing situation. The job was in New York City, and I was really excited about the opportunity to live in New York City and jump-start my career there. I took the job about 4 months later and have been with them for the last 10 years and have really, like I said, grown the digital/social/emerging part of the Ad Council, which has been really the highlight of my career. ROB: That's such a fascinating transition to bring you out to the West Coast again and really to identify – it seems like a lot of the technology opportunity – is it really donated media from them as well? Just as perhaps airtime on radio and on television would be donated, these platforms may also donate part of their own real estate to these causes? LAURIE: Yeah. Every time you see an Ad Council PSA advertisement, whether it's in your Instagram feed, whether it's on a billboard on the highway, whether it's on the radio or a podcast that you're listening to, all of that is donated to the Ad Council, which I think puts us in a really unique position because we're able to get our messages out there on all these different platforms. It's really the generosity of the media community that allows us to do that. So yeah, it's a very unique model. I think it's also a testament to the relationships that we have with these media companies that when we do need to get messages out there, they're raising their hand and they want to support it. It's a really great place to be. ROB: Wow. For them to donate that time, there has to be an element of trust that what they're going to be using that airtime, that screen space for, is going to be of excellent quality. Who actually creates the campaigns and creates the content? Are they also donating their time? LAURIE: That's a great question. The creative is really twofold, and I feel like it's one of the things that keeps evolving. Traditionally . . . our traditional model is that the advertising agencies in the U.S., the creative agencies in the U.S. – we call them volunteer agencies, and they will donate their time pro bono to develop the creative strategy and come up with the actual creative idea that we then deploy and put out there in the media. I feel like more and more, especially with the accounts that I manage, the media companies themselves not only want to donate the media, but they also want to be very heavily involved in the creative process. Facebook has Facebook Creative Shop, Pinterest has their own creative team, Snapchat has their own creative team. So oftentimes media companies will also step up and say, “Listen, we want to donate X amount of media, but we also want to work with our creative team to develop a custom filter or come up with a new video social campaign that is very specific to this platform.” And we welcome those opportunities. Obviously, these media companies know what creative is going to perform best and what the best ways are to reach audiences on their platform, so we welcome that. Oftentimes we do work with media companies, and they will donate their time to develop content similar to advertising agencies. But of course, our agency model is very strong because there's so many media companies out there and so many ways to reach people through multiple media channels that it's important for us to have face-to-face campaign creative and have creative that's ready to get out there on any platform at any given time. ROB: That makes a lot of sense. I can definitely see, especially in your department, when you're dealing with these technology companies, even the way they would execute a campaign, they would probably like to execute it in a way that is very native to each platform that they're on in a way that might make the entire campaign different. LAURIE: Yeah. I should also add we have a whole department at the Ad Council called Creators for Good. Again, it's another small and mighty team, but they are working with talent. Anyone from digital talent, digital creator influencer, to celebrity talent, comedians, musicians. They also develop content for us and their voice, lending their talents to get these critical messages to the public. It's great. We have basically content coming in from all different directions in order to get the messaging out there. ROB: Perfect. I think very relevant to this, you were prepared at South by Southwest to be a part of a talk called “Marketing in the Age of Digital Community.” That's very relevant, I think, to this conversation. What was going to be in that talk? And maybe we'll get a chance to hear it if it comes out in digital format later. LAURIE: Yeah. It was a panel that I put through. I was planning to be the moderator, and it was with Will Cady, the Head of Brand Strategy at Reddit, Addie Marino, who's the Global Prototype Lead at the Creative Shop Studio I just mentioned – we work with them – over at Facebook, and then Adam Warrington, who is the Vice President of Better World, the CSR arm of Anheuser-Busch. The panel was going to be focused on the power of digital communities and also the rise in digital communities. 81% of companies, up from 67% in 2012, report that they have a community-centric approach to marketing. And then at the same time, there's been a significant increase in the number of internet users that engage in online forums, blogs, subreddits. Reddit did a study called “The Era of We,” and it went from 72% of global internet users saying that “yes, I engage in these online communities” and that has increased to 76%. It's this really interesting phenomenon that more and more people that are active internet/social media users are part of some type of community. Maybe they're part of one, maybe they're part of several. And at the same time, companies that are starting out or companies that are evolving are making sure that they have a community-centric strategy. We basically designed a panel around that, and as a brand, how do you authentically insert yourself into let's say a subreddit community that has millions of followers and people that are really passionate about an issue? You as a brand have a big stake in the ground, and how do you enter that community but then also do it in a very authentic way to where the people in that community are really receptive? That was another part of the panel, too. Reddit did a separate study that found that 82% of community users are receptive to brands participating, and they really respect when brands make an effort. So this whole idea of – this is a huge marketing opportunity for brands to come in and insert themselves into these communities, but doing it in an authentic way that really fares well for your brand. Of course, brands have a lot of guidelines on how they can show up and what they can say and do. How do you do that in a space that is very authentic? You don't want to stand out. You don't want to do anything that could make you come across as you don't know what you're talking about. So it was a really awesome panel that we had designed to talk about this, because I think a lot of brands are trying to figure out how to enter this space. ROB: An interesting panel for that. I would say perhaps Reddit is the place you can insert yourself into community and be most quickly corrected if you have done so in a way that is not right for that community. LAURIE: Yes, absolutely. I think Reddit is also super unique – and we were going to talk about this in the panel, too – just the anonymous nature of the platform. A lot of people are joining subreddits, but they don't reveal their real person, whereas on a Facebook, you are showing up as who you are. I think what makes Reddit so special is that you can be part of this community, but not have to reveal who you really are. From an Ad Council perspective, we've found this to be really powerful for campaigns like our Youth Suicide Prevention campaign, like holding a Reddit AMA and reaching out to different communities to get people to talk about the issue of mental health that maybe in a public setting, that's difficult to talk about. It's a sensitive subject. So we are able to see a lot of success in raising awareness on our campaigns when we do it in a really unique way on Reddit. ROB: Reddit is certainly, by contrast, also a place where if you do things right, the rewards are tremendously rich and robust. I think maybe relevant to that, you're at an intersection that is very interesting today amidst this COVID-19 crisis. At the Ad Council, I believe the day that we're recording this, there've been a couple of new ads that have come out. I think when you're talking about digital platforms, often younger audiences might be some of the folks who feel like they have the least to worry about with this COVID-19 crisis. How is the Ad Council working into this crisis and getting what messages out to the right places? LAURIE: It's a great question, and thank you for asking. We have a huge campaign, and it has a lot of legs. We actually announced our campaign on March 19th, and we are working in partnership with the White House, the CDC, the U.S. Department of Health and Human Services to develop this largescale national PSA campaign in order to get messages to the public. To your point, there are a lot of different targeting sets of people that we're trying to reach. We have a lot of different campaigns under this one COVID-19 umbrella, so to speak. We worked with NBCUniversal. They created a series of videos, TV, and digital and social graphics both in English and Spanish that are reaching the high-risk populations as well as the general public. Those ad sets talk about the steps that people can take to protect themselves. Then separately, we worked with ViacomCBS and really leveraged their portfolio of brands to develop a multiplatform PSA campaign that targets more of the Gen Z/Millennial, younger, low-risk, I think we're calling them – like the 16- to 35-year-olds that might be a carrier or might have had the coronavirus but had mild symptoms, but of course, are a carrier of the virus and can spread it quickly. That campaign is called Alone Together. We're partnering with Twitter, we're partnering with Snapchat, we're partnering with TikTok, all of the targeted media platforms, to really bring light to that campaign. It's also social and talent led, so we have a bunch of celebrity talents that have lent their voice to get the message out there, of course. They're really big on social platforms, so partnering with them was really important for the campaign. In addition to that, we also just launched new PSAs that feature the Surgeon-General, Dr. Birx and Dr. Fauci, the health officials that really get the message out there on social distancing. Those are also targeted to the low-risk group of Americans. And we have more and more, it seems like every day, more and more media companies coming to the table. We're now working with The Atlantic's internal creative studio to develop customized digital creative. iHeartMedia just raised their hand and they're going to be developing audio and radio spots. Wall Street Journal, I just heard this morning, and Hearst are going to be developing custom print. And then of course, the partners that we work with out here in San Francisco, our social and emerging media partners, have all – we basically reached out and asked for their support, and every single one of them is stepping up, whether that be through donating a significant amount of media to get these already-created assets out there to developing custom content. Snapchat, their creative team is developing custom filters as well as designing some new creative that will live within their app. We're partnering with TikTok and some celebrity, talent-led creative. Reddit is doing something really unique in that we're doing a trending takeover on their front page, and we're also going to be developing custom content with them. I could talk forever on all the companies that have stepped up, but it's really been an industry-wide effort to not only develop content that reaches these very specific audiences, but donating media and each platform lending their own creative team to make sure that we're getting this message out there in the way that their audience is going to consume it best. It's been definitely the highlight of my career in these last 10 years I've worked with the Ad Council. We always take the call. We take the call when there's a national crisis and a national emergency. I never thought in a million years that we would be dealing with this in our country, but it's so amazing to work at a company like the Ad Council that is really on the frontlines on this communication and media strategy in order to get people to do what we need them to do. ROB: You must really feel like this is such an opportunity to actually – I think more tangibly. Many of your campaigns have been out there to save lives, even going back to “Loose lips sink ships” or the Crash Test Dummies. I just think there's something a lot more tangible about the immediate opportunity here. I'm amazed you can keep all of that that you just shared even in your head. LAURIE: [laughs] It's hard. ROB: How do you think about organizing moving parts and partners with so many different campaigns in flight, so many different placements in flight, different contexts? LAURIE: Thankfully, we have such an incredible team at the Ad Council. Our media team at the Ad Council is really broken out in that we have different specialties and different focus areas. Of course, our team in San Francisco, we're really focused on social and emerging media companies. Anything we're doing with any of those companies, we're really leading the charge in developing those partnerships. We have another team that's focused on audio and podcasts. We have another team that's focused more on TV and radio. We have a whole team of people that are working tirelessly with all of their partners in order to get the message out there. And then, of course, we have our talent team that's leading the talent-led efforts. We have our campaign teams that are in charge of managing the relationships with the CDC and the White House. It honestly is a whole team effort. It really makes me take a step back and go, wow. I'm happy to be where I am during this crisis. Ad Council, we have the convening partners of the industry to enable us to do this. I've got to say, it's really awesome that we have a system set up for when there is a crisis and that we can get the messages out there so quickly across the entire industry. ROB: It sounds like you're saying there's a value of specialization, but there's also a value of coordination and having the right people in the right seats and enough of them to make sure this whole thing works together. LAURIE: Totally. ROB: You have the quantity and the talent. Perfect. In these moments of crisis, one thing I saw maybe right around the time that cities were beginning to lock down – there are always loud voices on Twitter, but I saw very intelligent people who were calling out and calling on some of these – probably companies you work with, the Facebooks, the Twitters of the world, and saying, “Why aren't you helping? Why aren't you getting the word out?” What do people not realize is going on behind the scenes? Because I'm sure they're talking about it. When these companies are thinking but haven't quite acted yet, what's going on behind the scenes that people might not appreciate about these companies? LAURIE: I think that's why we at the Ad Council work directly with our PR communications team, because it is important for us to get the message out there that these companies are standing up. I know we just came out with a press release last Monday talking specifically to the tech community and what they're doing to step up. You just mentioned Facebook and Twitter; they're both doing a lot for our campaigns. Facebook is donating a significant amount of media for us to get the message out there, and Twitter is developing a custom emoji that will show up any time someone types with the hashtag “#alonetogether.” It's important for us to get the message out there that these media companies are stepping up, and we do that through a press release so that we can make these announcements and so the press can write about it. Obviously, sometimes that's not happening at the same exact time these questions are being asked, like, “Why aren't these companies stepping up?” But we were able to turn around a press release within a matter of 3 days. I think these companies, beyond what they're doing with the Ad Council, I'm reading every day – Apple just created a COVID-19 special section. Facebook has a COVID-19 special section. I know Twitter does as well. So I know beyond just what they're doing with the Ad Council and helping us get these messages to the public, I do think a lot of them are doing way more beyond that. They're actually using their product to get the message out there as well. I don't know if that helps answer your question, but we try to raise awareness on the fact that they're supporting through the press that we put out there. ROB: It's yet another example, I think, of the high-level, three-dimensional chess that you all have to play that very few people have to do. There's a PR dimension to what you're doing, but very rarely do you see such a deep level of also execution, also distribution, also partnering and coordinating, all within one organization. I think it's a tremendous amount to appreciate. LAURIE: It's a well-oiled machine. [laughs] ROB: [laughs] It sounds like it, especially to be all virtual now. Laurie, when you are looking at the future, what's coming up for the Ad Council and for the industry that you are excited about? LAURIE: It's a big question. For me personally, where I sit at the Ad Council and focusing on social and emerging media and having a pulse on the frontier of what's happening and where we should really be inserting ourselves, there's a couple things I think that I'm excited about. We're talking to some companies right now on the idea of a virtual concert where you essentially can join virtually, whether you have a VR headset or you just – you don't need a VR headset to join; you can also just join and experience it from your regular desktop or mobile phone. This idea that we can bring thousands if not millions of people together in a virtual space, share our messaging, whether that be – I think we're talking about bringing in some artists, some talent – but really getting everyone in a virtual space. Obviously it's hard in person. There's a lot of logistics that go into actually planning a physically live event. But the idea of being able to pull something off like this in a virtual space and have different messaging points, different levers that we can pull, whether that's getting a reward within the experience or maybe collecting user-generated content where people can share their own experiences as it relates to that issue – of course, there's a donation stream, if we wanted to raise money for a specific nonprofit. So I'm really excited about that potential, especially after we're living in this COVID-19 space where there is so much happening in a virtual world. I'm excited to see where Ad Council can take that, especially with our partners like Twitch and other leaders that are really driving the VR space. And then I think separately, it's this whole idea of purpose-driven marketing. I think we're going to see more and more brands really step up and make sure that they stand for something that's beyond just the product that they're selling and going beyond just their pocketbooks and giving money to causes – which of course is super important, but how can they actually develop unique experiences that happen in the communities of people that follow them and help make the world a better place through the causes that they care about? I think you're going to see more and more companies step up. Of course, that's an exciting opportunity for the Ad Council as well because we work with so many brands that sit on our board of directors, so how can we really play a part there, knowing that Ad Council invented this model of purpose-driven marketing back in 1942? How can we work together? We have a separate arm at the Ad Council that is focusing on this as a revenue stream. It's called Ad Council Edge, really helping brands and other nonprofits with their purpose-driven marketing strategy. So I'm really excited to see how that will play out over the next couple of years. ROB: It's amazing to see so much agility in a nearly 80-year-old organization. You mentioned VR there for a moment; I believe you've done some speaking and thinking on VR, but then you overlaid that onto our current moment. How much of things that you've seen and thought about in VR do you think are getting jammed into our lived experience of normal work and life right now? What's stuff we've talked about for VR that just became life all of a sudden? LAURIE: I went to F8 last year and they talked a lot about the Facebook Watch platform, and they showed an example of – it was two women. Her mother lived in Australia and she lived in Los Angeles, and they were watching Red Table Talk through their VR, like Oculus headsets, sitting in their living room, watching the show together and commenting. This whole experience of, okay, we're not physically together, but we are physically together because we are watching this and feeling this through this virtual experience. I see that, especially in where we are sitting right now with this shelter in place and people staying at home, this whole idea of watch parties and watching comet together and being able to respond in real time – just like you would if you were sitting in a living room with someone watching a show together. You might pause it and say, “Oh my gosh, what did you guys think about that?” or what have you. I see this really starting to pick up in a virtual space, being able to watch content together, experience content together. And then when we get out of this space and we eventually can get back to our normal lives and be together again in community with each other, I can see brands taking advantage of this whole – we have this online world, this online community, we're doing something together online, but then facilitating how those online connections can live out in the real world and in real life. I'm interested to see how brands will really scale that. I think we'll see more of these online-meets-real-life experiences happening. ROB: Fascinating. It will be interesting to see the before and after around this forced technology adoption. People are learning things they probably would have not learned for 5 years right now. It'll be fascinating to see what that means for the community that you are involved in and the companies you are working with. LAURIE: Absolutely, yeah. It's a huge opportunity for virtual companies and really digital companies that are thinking in this way to really take advantage of this time and figure out how they can evolve their products to fit in this space. ROB: That's all brilliant. Laurie, thank you so much for coming on the podcast and for sharing. I think we all learned a great deal. When people want to find and connect with you, where should they look for you? LAURIE: I'm pretty active on social media. That should not surprise you. [laughs] My Twitter is just my name, which is @lauriekeith. I'm always welcome to be hit up on Twitter through DMs. That's probably the best way to reach me. And then I did want to also plug our Coronavirus Toolkit, if I can. ROB: Absolutely. LAURIE: For anyone that's listening to this podcast and has the ability to reach people, we have a toolkit set up. It's coronavirus.adcouncilkit.org, and you will find everything from all of our PSAs to our social media assets to sample television and audio scripts if you want to develop your own content. I just wanted to make sure I plugged that, because I know a lot of people and companies are trying to figure out how they can help. I think it's a good one-stop shop of how to get our assets and get them out there. ROB: Super solid. Thank you so much, Laurie. LAURIE: Thank you so much. Hope you have a good one. ROB: You too. Bye bye. Thank you for listening. The Marketing Agency Leadership Podcast is presented by Converge. Converge helps digital marketing agencies and brands automate their reporting so they can be more profitable, accurate, and responsive. To learn more about how Converge can automate your marketing reporting, email info@convergehq.com, or visit us on the web at convergehq.com.

I absolutely LOVE CRYSTALS. And I love learning about them. In a past life (meaning, in my twenties) I did jewelry for nearly a decade, this opened up my obsession and long term relationship with the crystal kingdom.Madison Young, a Virgo, is the beauty and brains behind LA's stunning, minimalistic crystal shop, Open Eye Crystals on W. Pico & La Cienega (6110 W. Pico Blvd, Los Angeles if you want to go pay her a visit!) We talk ALL THINGS CRYSTALS: + how to use them+ crystals best for everything from anxiety to abundance & manifesting+ being grounded to actually help the crystals work for you + letting go of spiritual elitism & being of service to those around you + what it was like for Madison to open up her first crystal store ever + we move through the chakras and Madison gives us epic crystal recommendations for each chakra+ the best crystals to sleep with!+ how to choose a crystal or let it "choose" you (aka, everything to do with your intuition!)FOLLOW MADISON & OPEN EYE CRYSTALS FOR MORE CRYSTAL MAGIC!:https://www.instagram.com/openeyecrystals/Support the show (http://www.nataliabenson.com/shop)

Welcome to our first LA Short. This week we discuss LA’s iconic Googie architecture. LAX’s Theme Building, The Chemosphere House and Norms on La Cienega were all inspired by John Lautner’s 1949 Googie Cafe.  

Who is Jann Karam: Stand-up comedian, actor, writer, and artist Jann Karam has made numerous appearances on NBC’s Tonight Show and The Late Show with David Letterman. Jann played one of Jerry’s girlfriends on Seinfeld (rated #1 by UPROXX in “A Very Important and Scientific” ranking of Jerry’s all-time on-camera inamoratas) and in addition to series regular roles, she has guest starred on countless TV sitcoms. Her award-winning Castle Rock produced short film Under the Big Muu-Muu is about her mother’s irritating and funny weekend visit. Around Los Angeles, Jann performs her critically acclaimed theatrical solo show, Reclining Nude on La Cienega (you can see it on youtube) recently produced and recorded for broadcast by the legendary George Schlatter. Jann regularly performs standup on tour with Dana Carvey. Who is Alice Miller: Alice Miller was a Swiss psychologist, psychoanalyst, and philosopher of Polish-Jewish origin, who wrote the book The Drama of the Gifted Child: The Search for the True Self and many other books translated into several languages. She was also a noted public intellectual. How to show love to Project Woo Woo: Click here to buy Lisa a cup of joe.   This episode was also supported by Amazon. Click on this link --> Amazon any time you need to make an Amazon purchase. A small percentage of your purchase will support the show (no extra cost to you).  I receive an affiliate commission from some of the links above. Go get your free be happier than all your friends morning routine over here --> Project Woo Woo Listen to Lisa's other podcasts at Love Bites & Honestly Lisa  

I give you a partial recap of just the beginning of weed, guns, robbery, prostitution & Betrayal in the streets of LA. For anyone who is not familiar with SO CAL ....LAX is Los Angeles Airport, so streets and neighborhoods surrounding that area would be considered, century, La Cienega, Manchester . --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

2018 Volkswagen Atlas The 2018 Volkswagen Atlas is a new entry into VW's line-up.  And you can refer to it as a midsize or a full-size. But either way, I refer to it as great overall value and a big win for VW's newest edition to its lineup. We picked up a loaded version from our friends at Ontario Volkswagen for a test drive and were seriously impressed. The mid-sized SUV is extremely versatile and packed with technology.  Get all the details in this iDriveSoCal Podcast.   ***Transcript Notes*** Recorded May 17, 2018, in Los Angeles, CA 2018 Volkswagen Atlas Review Welcome to iDriveSoCal, the podcast all about mobility from the automotive capital of the United States – Southern California! Tom Smith here and today we're reviewing the 2018 Volkswagen Atlas from our friends in the Los Angeles suburb of Ontario, California – Ontario Volkswagen. 2018 Volkswagen Atlas driver profile 2018 is the first year for the Atlas and VW definitely did this mid-sized SUV right! I recently took one for a half-day test drive and was seriously impressed by many aspects of the vehicle. Trim Configurations & Pricing When it comes to trim levels the Volkswagen Atlas really offers something for everyone with many different options.  But the main trim levels include the S, Launch Edition, SE and the SEL. Plus on most trims, you have the option to include Volkswagen's all-wheel-drive 4MOTION and it's well-rounded Technology package. And manufacturers suggested retail pricing is going to begin around $30,000 and go up to roughly $46,000 fully loaded. As always, the prices we quote are just estimates.  You need to select the Atlas that's equipped to your liking and your price will reflect that. But you definitely want to go Ontario Volkswagen to do so.  Ask for our friends Randy Halcomb or Scott Reed and they'll hook you up. The 2018 VW Atlas I Reviewed Lucky for me, I got to drive the top of the line Atlas.  The V6 SEL Premium with 4-Motion. Now there's one option that my test-driver didn't have and that's the R-Line Appearance Package. The Atlas is a great looking SUV as is.  But if you're looking for something just a little sportier – or bolder – looking the R-Line dances it up nicely. The R-Line gives you 20-inch alloy rims, a grill that's a bit bolder looking and some nice accents on both the interior and exterior.  Not a big price increase but like I said – definitely dances up the appearance nicely. 2018 Volkswagen Atlas cockpit The first time I spotted the Atlas on the road was somewhere on La Cienega near Culver City.  I remember the situation vividly because at first glance I swore I was looking at an Audi. I also recall the situation vividly because we had just started the iDriveSoCal Podcast and I immediately called Professor Quan to tell him about my first road-sighting of the new VW offering. Of course, Professor excitedly rattled off all kinds of stats about the vehicle right off the top of his head.  Including: The 5-star Safety Rating from the National Highway Transportation Safety Board. And the industry-leading 6-year 72-thousand-mile bumper to bumper warranty. What Does the 2018 Volkswagen Atlas Look Like? Anyway, at first sight I thought the Atlas looked fantastic.  Bold and rugged yet classy and refined with great, clean lines. The Atlas I drove looked even better – as again, I drove the top of the line. Now it's technically a mid-size SUV but as we've discussed in many podcasts – everything is getting bigger lately.  And the Atlas follows suit. From the outside it looks a bit bigger than a mid-sized SUV.  And inside it's huge – which is awesome and we'll get into that in just a second. But what I loved about the Atlas is that while it looked and felt bigger it definitely drove like a mid-size SUV. It was highly maneuverable.  I swung by the Bass Pro Shop during my test drive and navigating the parking lot was not only a breeze...

It's Halloween Times, and we have a veritable pillowcase full of treats in store for you. Joe Dante, the director of Gremlins, The Howling, Pirahan, Matinee, Small Soldiers, Gremlins 2, The Burbs, Twilight Zone: The Movie, the list goes on and on and on. Josh Olson, the Academy Award nominated screen writer for A History of Violence, friend of Harlan Ellison and the current curator of the excellent Trailers From Hell podcast. And Mike Mendez, director of the great, great film Big Ass Spider, Don't Kill It, Tales Of Halloween, etc. Great guys all, good friends all, super Halloween nerds all. Enjoy. October 29th is a sweet ass day if you live in Los Angeles. It's Plan 9 From Outer Space LIVE at Largo on La Cienega. Joining me will be Janet Varney, Paul F. Tompkins, Laraine Newman, Brian Posehn, Jonah Ray, Matt Braunger, Ron Lynch, Deborah Baker, Jr., Nate Mooney, G. Charles Wright with live musical accompaniment by Eban Schletter and stage design by Pam Severns. Go to http://LARGO-LA.com for tickets. November 1st, season two of Stan Against Evil premieres on IFC. You had to have been living under a rock if your even a casual fan of this podcast and haven't heard me blather on and on about that. Season one is on Hulu now if you'd like to catch up. Dana Gould's live events are on his events page. November 2nd through 4th, 2017, I'll be at Zanies in Chicago. And I promise, it will be very zany. I swear, it will be zany. November 16th through 18th, it's back to my hometown of Boston Massachusetts to Laugh Boston, where I'll be performing with former podcast guests, personal friends, and estimable comedians in their own right, Valerie Tosi and Ken Reid. Don't live in Chicago or Boston? You can buy my album, Mr. Funny Man, on Kill Rock Stars Records, available on iTunes and Amazon.

Happy Pride! We are thrilled to announce that we are partnering with GLAAD to help spread pride, love, and awareness not just during Pride Month but everyday of the year! Friends of the show and past guests, Zeke Stokes (VP of Programming at GLAAD) and Carrie-Rachel Dean (Events Manager at GLAAD) drop knowledge about the Together Movement. Ya know those ampersand pins you saw everyone wearing at the Tony Awards? That was for the Together Campaign! We talk about the importance of telling your story from the Revolution to the Resistance. And of course we do a quick Tony recap because we're not monsters. https://www.glaad.org/ https://www.glaad.org/together The episode that inspired the partnership:  Javier Munoz // Episode #64: I'm passionately smashin' every expectation // Part Two: http://www.thehamilcast.com/episode-64-im-passionately-smashin-every-expectation-part-two/ Gregory Haney discusses playing a transgender character (La Cienega) in Bring It On the Musical: http://www.thehamilcast.com/episode-71-ready-for-the-moment-of-adrenaline-part-one/ Carrie on The Hamilcast: Episode #27: Look at where we are, look at where we started: http://www.thehamilcast.com/episode-27-look-at-where-we-are-look-at-where-we-started/  Episode #28: Weapon in my hand, a command, and my men with me: http://www.thehamilcast.com/episode-28-weapon-in-my-hand-a-command-and-my-men-with-me/ Zeke on The Hamilcast: Episode #38: Tomorrow there'll be more of us: http://www.thehamilcast.com/episode-38-tomorrow-therell-be-more-of-us/  

Hamilton's Gregory Haney is on the podcast this week and we are thrilled to have him! Gregory tells us what it's like playing some of the grimiest characters in the show: James Reynolds, Charles Lee, and George Eacker. We also talk to Gregory about his experience as La Cienega, Broadway's first transgender high school student in Bring It On, and he dishes about being in Grease Live! Not to mention the fact that he WON GLOBAL GUTS ON NICKELODEON WHEN HE WAS 13 YEARS OLD NBD.   Gregory on Global Guts:

Bobo stalls the rental. Khaloko doesn't blow smoke when smoke is needed. Gilbo is eating again. We talk Meryl, man school, and long lost families.

Born and raised in Chicago, Alex Pino moved to New Mexico at age 20. After years working unfulfilling jobs and seeking solutions for the industrialized food system he began farming on a rocky Piñon & juniper covered hillside near Santa Fe. Pino now farms four properties from Pecos along the river to La Cienega, growing heirloom garlic on rented, drip-irrigated land. Pino sells at Santa Fe area Farmers' Markets year round. He organizes farmers through the National Young Farmers Coalition's local chapter, the Northern NM Young Farmers Alliance, and holds workshops and trainings to help educate next generation farmers.

We are back again with Ed Squair where we finish our conversation on his projects while working for Disney, what he is up to next and his fascinating #StarWars and La Cienega’s Restaurant Row collection. In this episode he will also reveal where the best comic book shop in Los Angeles is.

Colin Marshall sits down in Highland Park with Javier Cabral, the "food, booze, and punk rock" writer formerly known as The Teenage Glutster, and currently known as The Glutster. They discuss his mission to change the official punk rock food of Los Angeles from the Oki-dog to the taco; the reasons for the taco's current surge of general popularity; the reputation Mexican food has, even among the otherwise culinarily aware, as "just Mexican food"; the humbling his Mexican-food expertise received at the hands of his girlfriend; the singular form of "tamales"; what the bean-and-cheese burrito stands for in Los Angeles Mexican cuisine; his Korean food outing with Matthew Kang; how punk rock got him exploring Los Angeles first, and how looking for punk show listings exposed him to the food writing of Jonathan Gold; what kind of music develops in the backyards of east Los Angeles; the pots of food his mom made for the attendees at his free 21st birthday punk show; how much he enjoyed comped meals (and drinks) on La Cienega as a young, broke food writer, and why he swore off them; why the eastside and westside continually accuse one another of having no food; the cultural overlap he's found between food and punk rock in the most logical city for those two to come together; his long-form Saveur piece "Mexico Feeds Me", which took him back to his family's home state of Zacatecas (and which finally got his parents understanding his job); his love of street food, and his refusal to write about it for fear of getting its purveyors shut down; how both street food and punk rock always come back, no matter who tries to stamp them out; the burden of listicle-writing; and the etymology of the word "Glutster".

Steve Cooper talks with comedian/actor/writer Jann Karam. Jann's numerous T.V. credits include stand-up appearances on Late Show with David Letterman, The Tonight Show and HBO’s Young Comedians Show. In addition to playing one of Jerry’s girlfriend’s on Seinfeld, she has guest-starred on Norm, Mad About You, Politically Incorrect, Dr. Katz and many more. She wrote, directed, and starred in festival-award winning film,Under the Big Muu-Muu, a funny, touching look at mother-daughter relationships. She performs her one-woman showReclining Nude on La Cienega in Los Angeles and around the country. In addition, she’s written a book based on the show–a humorous collection of short stories about life, love and finding a place to lie down.