Podcasts about making a scene

Making a Scene Presents - The Attention Harvest: Using AI to Capture Fans Before the Algorithm Takes Them Away Most Artists Celebrate Views. Smart Artists Capture Relationships. There is a moment that happens every day in the life of an independent artist. A song clip starts moving. A short video gets more views than usual. A live performance reel catches fire. A comment section wakes up. A stranger writes, “Where can I hear more?” Another one says, “Come to my city.” Somebody shares the post. Somebody else saves it. The artist sees the number climb and feels that little rush we all understand. The views are going up. The algorithm is smiling. For a few hours, it feels like the door finally cracked open. Then the feed moves on. http://www.makingascene.org

Making a Scene Presents - The Real Bottleneck in Music Isn't Talent—It's Attention Why the Fight for an Indie Music Career Has Changed There was a time when the hardest part of building a music career was getting access. You needed access to a studio. You needed access to a producer. You needed access to a label. You needed access to radio. You needed access to a distributor, a publicist, a booking agent, a magazine, a record store, and somebody behind a desk who could either open the gate or slam it in your face. That world was brutal. It kept a lot of great artists out. But at least the enemy was easy to see. http://www.makingascene.org

Making a Scene Presents an Interview with Stacy Mitchhart Stacy Mitchhart's musical journey began in Cincinnati, Ohio, in a house where jazz guitar masters like Wes Montgomery and Johnny Smith were always spinning on the stereo. With that kind of soundtrack in the air, it was only natural that he gravitated toward the guitar. But it wasn't just the notes that grabbed him early—it was the performance. As a kid, he saw Little Richard on television and couldn't look away. Little Richard's style, confidence, and larger-than-life showmanship opened Stacy's eyes to a powerful idea: music isn't only something you play—it's something you deliver. That lesson became a lifelong part of Mitchhart's identity, and today he's known for a brand of showmanship that keeps audiences coming back night after night. http://www.makingascene.org

Making a Scene Presents - Building a Self-Sustaining Marketing Machine: The AI System That Runs Your Career The Artist Should Not Be the Entire Marketing Department There is a dirty little secret in the modern music business. Most independent artists are not only expected to write the songs, rehearse the band, book the shows, record the music, mix the tracks, post the videos, design the merch, answer the messages, build the email list, study the analytics, pitch the playlist, sell the tickets, update the website, and somehow still have enough soul left to be creative. That is not independence. That is exhaustion wearing a DIY T-shirt. http://www.makingascene.org

Making a Scene Presents - The Rise of Micro-Fanbases and Why 1,000 True Fans Is What Really Matters The Old Music Business Wanted Everybody. The New Music Business Needs Somebody. For decades, the music industry sold artists the same shiny dream: reach the masses, get famous, get signed, get played everywhere, and somehow money will fall from the sky like confetti. It was a beautiful story if you were the label, the radio chain, the distributor, the playlist gatekeeper, the ticketing monopoly, or the platform sitting between the artist and the fan. For the artist, it was usually a lottery ticket dressed up as a career plan. http://www.makingascene.org

Making a Scene Presents - Phase Issues Explained: Why Your Mix Sounds Thin The Invisible Problem Hiding Inside Your Mix There is a special kind of frustration that happens in a home studio. You record the part. You play it back. The performance is good. The tone sounds fine by itself. The mic was not cheap. The interface is working. The meters are healthy. Nothing is clipping. Nothing looks broken. Then you push the tracks together and the whole thing suddenly sounds smaller than it should. The drums lose punch. The guitar sounds hollow. The vocal gets cloudy. The bass feels weak even though the waveform looks huge. You add EQ. You add compression. You turn things up. You widen the stereo image. You blame the room, the monitors, the plugin, the preamp, the guitar, the singer, and maybe the moon. But sometimes the real problem is phase. http://www.makingascene.org

Making a Scene Presents - AI as a Bandmate: Where It Helps and Where It Hurts There is a strange new player walking into the rehearsal room. It does not carry a guitar. It does not complain about the van. It does not forget the bridge, show up late, drink the last beer, or insist the snare is too loud when the snare is clearly not the problem. It sits on a laptop, in a plugin window, inside a website, behind a prompt box, or buried in the “assistant” button of a mastering tool. It is artificial intelligence, and whether artists like it or not, it is already part of the modern music business. http://www.makingascene.org

Making a Scene Presents - Panning Strategies: Creating Width Without Losing Focus Panning is one of the most powerful tools in mixing, but it is also one of the easiest to treat like an afterthought. A lot of indie artists open a mix, throw the vocal in the middle, push a guitar left, push another guitar right, maybe slide a hi-hat somewhere off to the side, and call it a stereo image. That is not really panning. That is decorating. Real panning is arrangement, storytelling, and space management. It decides where the listener's attention goes. It decides whether a mix feels wide and exciting or blurry and disconnected. It can make a small home studio recording feel like a real record, not because it magically fixes bad tracks, but because it helps every part of the song find a job and a place to stand. http://www.makingascene.org

Making a Scene Presents - The AI Feedback Loop: Using Fan Behavior to Train Better Marketing Over Time Your Marketing Should Get Smarter Every Time a Fan Clicks For years, indie artists were told to market their music by guessing. Guess what time to post. Guess what subject line sounds cool. Guess which city cares. Guess which merch item might sell. Guess whether fans want vinyl, shirts, livestreams, private songs, acoustic versions, behind-the-scenes videos, house concerts, VIP hangouts, or just a simple thank-you email that does not sound like it was written by a corporate intern trapped inside a coffee machine. That old system was not really marketing. It was throwing spaghetti at the internet and calling it a strategy. http://www.makingascene.org

Making a Scene Presents - Automation: The Missing Piece in Most Indie Mixes Why the Mix Does Not Come Alive Until It Starts Moving A lot of indie mixes do not fail because the artist used the wrong microphone, the wrong preamp, the wrong compressor, or the wrong $29 plugin they bought during a midnight sale while questioning every life choice that led them into home recording. Most indie mixes fail for a simpler reason. They sit still. http://www.makingascene.org

independent musicians must shift their focus from accumulating social media followers to cultivating a direct ownership economy. The author contends that high visibility on digital platforms is often a vanity metric that fails to translate into financial stability because artists do not own their fan data. To achieve true sustainability, creators should treat social media as a preliminary funnel designed to move audiences toward owned channels like email lists, SMS, and personal websites. By prioritizing direct-to-fan relationships over algorithmic reach, artists can transform passive listeners into a reliable customer base. Ultimately, the source advocates for a structural business shift where participation and participation-tracking tools, such as fan passports, replace the pursuit of viral fame. http://www.makingascene.org

a strategic manual for independent musicians to reclaim control over their audience relationships by moving away from platform-dependent social media. It argues that artists should build owned community forums using tools like WordPress, BuddyPress, and bbPress to escape restrictive algorithms and data silos. By establishing a central "digital house," creators can integrate direct-to-fan commerce, email newsletters, and membership tiers into a unified ecosystem. The guide provides practical steps for setting up these social layers, emphasizing the importance of data ownership and authentic fan engagement. Ultimately, it frames self-hosted infrastructure as the key to moving beyond viral trends and building a sustainable, middle-class music career. http://www.makingascene.org

Eleven Years of Making a Scene: Still Independent, Still Publishing, Still Building the Future A Milestone Worth Making Noise About On May 1, 2026, Making a Scene celebrates eleven years of continuous publication, and in the fast-moving world of independent music media, that is no small thing. Websites come and go. Blogs burn bright and disappear. Social platforms change the rules. Algorithms bury good work under noise. But Making a Scene has kept showing up, posting new content virtually every day and building one of the most active independent music archives on the web. For eleven years, Making a Scene has stood with the independent music community. Not just the stars. Not just the artists with major backing. Not just the names already sitting on top of the industry machine. Making a Scene has focused on the working artists, the touring musicians, the songwriters, the bands, the producers, the engineers, the reviewers, the interviewers, the fans, and the people who keep real music alive long after the hype machine moves on to something else. http://www.makingascene.org

Making a Scene Presents - The Live Show Is Not Just a Night Out. It Is the Front Door to Your Whole Music Business. For too long, indie artists have been taught to think of the live show as a single transaction. A fan buys a ticket. The artist plays the set. Maybe somebody buys a shirt. Everybody goes home. The venue sweeps the floor, the bartender counts the drawer, the band loads out, and the whole night disappears into the fog of tired backs, ringing ears, and gas station coffee. That is the old way. The new way is different. The live show is not just a night out. It is not just a gig. It is not just a chance to play loud, sell a few shirts, and hope somebody remembers your name next week. The live show is the most powerful conversion point an independent artist has. It is the one place where attention, emotion, money, identity, and community all show up in the same room at the same time. That is rare. That is valuable. That is not something you hand over to Spotify, Instagram, TikTok, Ticketmaster, or some rented platform that lets you borrow your own audience in exchange for feeding its machine. A live show is where a casual listener becomes a real fan. It is where a name on a poster becomes a face, a voice, a laugh, a handshake, a story, a memory. It is where your music stops being content and becomes an experience. And if you build the right system around that experience, the show does not end when the last cymbal fades. It keeps working. It keeps earning. It keeps bringing people into your world. That is the real game. http://www.makingascene.org

Making a Scene Presents - Ticketmaster LiveNation Court Decision -When the Gatekeeper Finally Got Dragged Into Court In May 2024, the U.S. Department of Justice walked into federal court and said out loud what fans, working artists, indie promoters, and venue operators had been saying for years: the live music business was not just frustrating, it was structurally broken. The government sued Live Nation and its ticketing arm Ticketmaster, alongside 30 state and district attorneys general, and asked for structural relief. That was not some polite regulatory slap. It was the government saying the company's grip on live music had become so deep that fans were paying more, artists were getting fewer real opportunities, smaller promoters were getting squeezed, and venues were being pushed into fewer real choices. The DOJ said the goal was to restore competition, lower prices, and “open venue doors for working musicians and other performance artists.” http://www.makingascene.org

Making a Scene Presents - Creating a Touring Syndicate for Increased Leverage For years, indie artists have been told the same tired story about touring in America. Build your streaming numbers. Pray for algorithm luck. Hope a promoter notices. Spend money on ads. Guess which city might work. Book the run. Drive the miles. Cross your fingers. Lose money in three towns, break even in two, and call the whole thing “building.” That story has made a lot of middlemen comfortable. It has not made a lot of artists stable. The next version of touring is going to look different. It is going to be less like gambling and more like infrastructure. Less like each band wandering alone through the dark and more like a network of artists carrying a flashlight together. And the artists who get there first are going to stop acting like their fan data is just a mailing list and start treating it like a shared economic engine. That is where the idea of a touring syndicate comes in. http://www.makingascene.org

Making a Scene Presents - The Real Reason Streaming Pays So Little, And Why It Was Designed That Way Streaming did not become unfair by accident. The dominant payout model was built to make giant catalogs easy to license, cheap to sell, and sticky for listeners. That helped platforms grow and helped major rights holders protect old power in a new format. It did not build a healthy middle class for working artists. The next fight is not just about a better royalty formula. It is about ownership, fan data, and turning streaming back into what it should be for independents: discovery, not destiny. The music business loves a clean rescue story. Piracy nearly burned the whole thing down. Streaming rode in like a hero. Subscriptions brought the money back. Everybody got saved. End of movie. Except that is not how it feels from the van, the home studio, the merch table, or the monthly distro report. For a lot of independent artists, streaming feels like standing in the middle of a giant city, singing into a megaphone, and getting tipped in pocket lint. The audience is massive. The access is global. The numbers look big on the screen. But the money that reaches the artist often feels weirdly small, almost insultingly small. And because the platforms are wrapped in the language of “access,” “discovery,” and “democratization,” artists are often pushed to think the problem is them. Maybe they just need more streams. Maybe they need better playlisting. Maybe they need to crack the algorithm. Maybe they need to go viral. That is the trap. http://www.makingascene.org

Making a Scene Presents - The Music Industry's War on Ownership Platforms want access. Artists need ownership. There is a war on ownership in the music business, and most of it is happening in plain sight. It is not being fought with lawsuits or angry speeches. It is being fought with product design. It is being fought with dashboards, autoplay, pre-save buttons, short-form feeds, and a thousand tiny choices that train artists to believe reach is enough. The message is always the same. Be everywhere. Post more. Feed the machine. Stay visible. Hope the platform keeps showing you to people. That sounds like opportunity. A lot of the time, it is really dependency. http://www.makingascene.org

Making a Scene Presents - Layering Tracks Like a Pro: Building Big Sounds with Minimal Gear There is a lie floating around home recording culture that has probably cost indie artists more good songs than bad microphones ever did. It says big sounds come from big budgets. Big rooms. Big mic lockers. Big consoles. Big plugin folders. Big racks of preamps you can barely afford and barely explain. It is the same old gatekeeper story in new clothes: your art is not ready until somebody with more money approves it. That idea needs to die. A big record is usually not about having more gear. It is about making better choices. It is about knowing when to double a part, when to leave space, when to stack a harmony, when to pan something wide, and when to keep it dead center so the song still punches like a fist. The truth is that a lot of the size people hear on pro records comes from arrangement and layering, not from luxury. And that is good news for indie artists, because arrangement is ownership. Layering is leverage. The better you can build a big, emotional, competitive master in your own room, the more value lives in your catalog instead of leaking out to somebody else's studio bill. That matters for streaming, for sync, for licensing, for direct sales, for fan-funded releases, and for every other way artists are trying to build a real music industry middle class. Fender Studio Pro, the current Fender-branded evolution of the Studio One platform, is built for exactly this kind of fast, idea-first workflow, with tools like Channel and Arrangement Overviews, AI-powered Audio-to-Note conversion, Chord Assistant, updated samplers, Studio Verb, and built-in Fender guitar and bass plug-ins. Fender's own documentation also identifies the current platform as Fender Studio Pro 8. http://www.makingascene.org

Making a Scene Presents an Interview with Dave Miller Dave Miller has been writing songs, performing, and living the working-musician life for five decades. Over the years he's played everywhere a good song can land—taverns, dance halls, coffee houses, showcases, concert venues, and festivals—touring coast to coast across the United States and into British Columbia. He's the kind of artist who doesn't just collect miles. He collects stories, and then he turns them into songs with wit, heart, and a sharp eye for the human condition. http://www.makingascene.org

Making a Scene Presents an Interview with Don Arbor Don Arbor is an award-winning songwriter and video artist whose lifelong connection to music began before he was even born. As he tells it, his first musical influence was hearing his mother's beautiful soprano voice while still in the womb. Not long after, he started singing himself—and he has never really stopped. http://www.makingascene.org

Making a Scene Presents an Interview with Duke Robillard Duke Robillard is one of America's most respected guitarists, singers, songwriters, and bandleaders, celebrated for his mastery of blues, jump R&B, swing, and roots rock. Over the course of a long and influential career, he has earned a reputation as a true musician's musician—an artist whose deep knowledge of American roots music is matched by exceptional skill, taste, and versatility on guitar. http://www.makingascene.org

Pathfinder Church | February 18, 2026 | Dion GarrettOur society has largely sterilized the process of death—offloading the care of the sick and dying onto medical professionals. We even try to keep our pain and grief hidden inside, rather than “make a scene.” So why does the church publicly and messily focus on death and lamentation?Website | https://pathfinderstl.orgOnline Giving | https://pathfinderstl.org/givePodcasts | https://pathfinderstl.org/podcastsFacebook | https://facebook.com/pathfinderstlInstagram | https://instagram.com/pathfinderstlSt. John School | https://stjls.orgContact Us | churchinfo@pathfinderstl.org

Making a Scene Presents an Interview with Carley's Wreck and RuinCarley's Wreck and Ruin is a British blues duo with a dark, unmistakable edge. Their sound is raw, primitive, and haunted — a mix of gritty blues and trashy roots that feels like it crawled up from somewhere old and restless. http://www.makingascene.org

CWU goes to POWER Football, Local hoops are making a scene all over the state and nation!!! 

Making a Scene Presents an Interview with The Lucky LosersThe Lucky Losers are an award-winning six-piece blues and soul band from San Francisco. Since 2019, they have won six Independent Blues Awards, including Artist of the Year for vocalist Cathy Lemons and Song of the Year for “Godless Land.” The band is fronted by Lemons, a powerful singer raised in Dallas, and Phil Berkowitz, a New Jersey–born harmonica player and vocalist known for his distinctive style. Together, they lead a band that blends blues, soul, rock, gospel, and Americana into a bold, full-band sound built mostly on original material. http://www.makingascene.org

Making a Scene Presents -The Indie Artist's Guide to Writing a Real Business PlanFor independent musicians, the music business can feel confusing, overwhelming, and honestly a little intimidating. You make music because you love it, not because you dreamed of spreadsheets and contracts. But here's the truth nobody tells you early enough: if you want music to be your career instead of an expensive hobby, you need a business plan. Not a corporate one. Not a label-style fantasy deck. A real, usable plan that reflects how music actually works today. http://www.makingascene.org

Making a Scene Presents An Interview with Ross NeilsenHere's a rewritten and expanded version that keeps the facts, adds context, and smooths the story into a clear, compelling narrative.Ross Neilsen didn't build his career in a straight line. In 2007, he quit his job, gave up his home, and moved into his car so he could follow music full-time. For the next two years he couch-surfed, slept wherever he could, and stayed on the road almost constantly. That choice shaped everything that followed. The highway became his classroom, his stage, and his home. http://www.makingascene.org

Making a Scene Presents an Interview with Levi PlateroLevi Platero is from the Navajo Nation in the Southwest United States. He first gained national attention with his family band, The Plateros, who emerged in 2004 as a blues-rock power trio often compared to artists like Stevie Ray Vaughan, Los Lonely Boys, and ZZ Top. The band spent more than a decade touring across the U.S., building a reputation for their high-energy live shows and strong musicianship. http://www.makingascene.org

Making a Scene Presents an Interview with Johnny "V" VernazzaJohnny “V” Vernazza was born in San Francisco and raised in Daly City, right in the middle of one of the most explosive music scenes in American history. In the 1960s, the Bay Area wasn't just alive with music, it was overflowing. Clubs were everywhere, and it was normal to jam at four or five spots in a single night. Add legendary rooms like the Fillmore, the Avalon Ballroom, and massive concerts in Golden Gate Park, and you had a city where music wasn't a hobby, it was a way of life. http://www.makingascene.org

Making a Scene Presents an Interview with Murali CoryellMurali Coryell's story is one of deep roots, hard-earned growth, and a lifelong connection to music that runs far deeper than a famous last name. His journey started before he could walk. He was held as a baby by Jimi Hendrix, lived with Carlos Santana, and grew up around dinner tables shared with Miles Davis. Music wasn't something he chose later in life. It was the air he breathed from the very beginning. http://www.makingascene.org

Making a Scene Presents an interview with Robert Top ThomasRobert “Top” Thomas comes straight out of the Florida backroads, where the air is thick, the nights are loud, and the blues still mean something. He's a swamp blues musician in the truest sense, pulling his sound from muddy rhythms, raw guitar tones, and stories that feel lived in, not written for show. When Top sings, it sounds like a late-night confession on a screened-in porch, with cicadas buzzing and a storm rolling in from the Gulf. http://www.makingascene.org

Making a Scene Presents an Interview with American MileAmerican Mile isn't just a band. They're a touring machine, a modern voice for Southern rock, and storytellers for the real American struggle. Built on pure road-warrior grit, the band is carrying Southern rock forward with a sound that's loud, raw, and impossible to ignore. http://www.makingascene.org

Making A Scene Is Moving Toward a 100% Ad-Free, User-Supported FutureFor more than a decade, Making A Scene has been showing up every single day for the indie music world. We have published fresh content every single day for over 10 years straight. No breaks. No missed days. No excuses. Every sunrise brings new interviews, new reviews, new gear talk, new music business guides, and new tools to help independent artists grow. This is not a hobby for us. It is a mission. http://www.makingascene.org

Making a Scene Presents an Interview with Pops FletcherMy story starts at age thirteen in the Roosevelt Jr. High auditorium. Three of us stood onstage with acoustic guitars, blinded by a single follow spot, singing “If I Had a Hammer” and “Blowin' in the Wind.” I didn't realize it then, but folk music was the doorway that pulled me into a lifetime of performing. http://www.makingascene.org

Making a Scene Presents an Interview with Roy Blumenfeld of The Blues ProjectRoy Blumenfeld has lived at the center of some of the most electrifying moments in New York's 1960s music revolution. Born in the Bronx in 1944, he came of age just as American rock and roll was taking shape. Drawn early to the sounds of blues, R&B, and jazz, he picked up the drums and quickly became part of the city's vibrant, fast-moving music scene. http://www.makingascene.org

Making a Scene Presents an Interview with Larin MichaelsBorn and raised in the heart of Motown, Larin Michaels grew up surrounded by one of the world's greatest music traditions. He began his musical journey at just seven years old as a drummer, laying the foundation for a lifelong career shaped by rhythm, soul, and unmistakable Detroit grit. By fifteen, Larin had expanded his musical palette to include guitar and piano, and soon formed his first rock band, The Noblemen, with longtime friend Mario Bee. The group quickly built a regional following, performing across the Midwest and appearing on radio and television while recording original material. http://www.makingascene.org

Making a Scene Presents an Interview with Henri HerbertOriginally from the UK and now based in Nashville, TN, Henri Herbert has earned a reputation as one of the most electrifying blues and boogie-woogie pianists working today. A permanent resident of the United States, his Green Card was granted specifically for his exceptional ability as a blues pianist—formal recognition of a talent that has taken him across stages throughout the U.S. and Europe. http://www.makingascene.org

Making a Scene Presents an Interview with Joel DupuisBased in London, Ontario, The Joel Dupuis Band is a powerhouse three-piece delivering high-energy, no-nonsense, straight-ahead rocking blues. Winners of London Blues Band of the Year 2024 and Guitar Player of the Year 2024, they're known for explosive performances, soulful original songs, and bold, modern spins on classic favorites. http://www.makingascene.org

Making a Scene Presents an Interview with John Christopher MorganJohn Christopher Morgan is a songwriter, guitarist, and storyteller whose music digs deep into the roots of American sound—where blues, soul, and folk rock collide with raw honesty. With a voice rich in grit and warmth, and guitar work shaped by years of stage experience, Morgan delivers songs that feel lived-in, heartfelt, and unfiltered. Every lyric carries the weight of real stories, real struggles, and real triumphs. http://www.makingascene.org

Making a Scene Presents an Interview with Steven C AndersonSteven C Anderson is a genre-bending pianist and composer whose music sits at the crossroads of classic rock inspiration, sweeping cinematic soundscapes, and intimate solo-piano artistry. With more than 2,000 original works and millions of streams worldwide, Steven has built a career defined by both prolific creativity and emotional honesty. His music moves effortlessly from raw, exposed piano pieces to richly orchestrated arrangements, always anchored in melody, mood, and storytelling. http://www.makingascene.org

Making a Scene Presents an Interview with Jason CaleJason Cale is a powerhouse guitarist, vocalist, and composer whose fearless creativity has birthed a sound that's as unique as it is electrifying. Leading the charge with The Jason Cale Band, he's crafted a genre-bending style they call Swampfunk—a fiery mix of soulful blues-rock, gritty New Orleans funk, and adventurous jazz fusion. It's music that oozes authenticity, groove, and grit—equal parts Louisiana bayou, late-'60s psychedelia, and Southern soul, all stirred together in a modern, high-octane gumbo. http://www.makingascene.org

This week we have chisme how our first day of kindergarten dictates the rest of our lives. The Pop Culture Pop Up has chisme on:- Diane Keaton (RIP QUEEN)- The Frauds of Potomac - Taylor Swift shenanigans Follow us on TikTok, Twitter, & Instagram @youmeandchismeSubscribe to our newsletter at youmeandchisme.comEmail us: youmeandchisme@gmail.comFollow Julie & Adrian on Instagram & TwitterJulie (@juliexplores): Instagram & TwitterAdrian (@djadriatic): Instagram & Twitter 

In this convo, Lee Heidel and Jamie Jones chat on the significance of HeroesCon — “Comic Book Homecoming” as Jamie calls it — the challenges and joys of being an independent creator, and the importance of community in the comic industry. Neighborhood Comics is a reader-supported comic shop. To receive new posts and support our work, consider becoming a free or paid subscriber.They discuss the evolution of comic book conventions, the role nostalgia plays in comic appreciation, and the innovative Power Pulp distribution coop that supports independent comic creators creators. Jamie shares insights on building relationships at conventions, tips for new creators, and the success of community-driven events like Drink and Draw. We also realized that Jamie's art is just like this podcast as “Moms are the target audience.”Follow Jamie over here → Jamie Jones and at artofjamiejones pretty much everywhere. Get full access to Neighborhood Comics at convo.neighborhoodcomics.com/subscribe

Evie Ashton reviews Sentimental Garbage, a podcast hosted by Caroline O'Donoghue about all the good stuff in life: film reviews, life observations, and travel notes.

Send us a textLike the Avengers all came back in Endgame (spoiler!), Mike Ganino is back for round 2 on the podcast! Mike joins Jason for a high-energy, no-fluff conversation on what it really takes to communicate with impact. Mike—speaker coach, improv performer, keynote director, and now author of Make a Scene—shares why storytelling, stage presence, and vocal delivery are critical skills for anyone looking to own their space in meetings, sales, and leadership.From bad advice about public speaking to practical ways to own your voice and physicality, Mike and Jason break down the five Stage Languages that make or break a communicator.

Welcome back to the IGNITE Your Dream Podcast!  I am over the moon excited for today's episode with the one and ONLY, brilliant + magnetic, Mike Ganino! We recorded this episode in real-time TODAY on his book launch day, and I can't WAIT to share it with you.  Mike is a storytelling expert, speaking coach, and creative director who helps bestselling authors, TED speakers, and thought leaders make unforgettable scenes on stage—and in life. He's the author of the new book Make A Scene: Storytelling, Stage Presence, and the Art of Being Unforgettable in Every Spotlight, a guide to showing up boldly and connecting deeply through the power of story and public speaking. A former TEDx Executive Producer and sommelier (because why not?), Mike has trained over 5,000 speakers using his signature Mike Drop Method—helping them craft messages that hit harder than a double espresso. His work has shaped viral TEDx talks, launched bestselling books, and transformed even the most stage-shy scientists into magnetic performers. We dive in to all things Make a Scene, Mike's own journey through this work and how YOU can show up more fully + become 'unforgettable', no matter what kind of stage you're on. I can't wait for you to listen.  Links Mentioned: Get your copy of Make A Scene TODAY!  Learn more about Mike and his work over on his website: mikeganino.com Follow him over on Instagram: @mikeganino   Take the quiz and discover your Entrepreneurial Archetype Learn more about the IGNITE Your Business Growth Collective Book your Breakthrough Call today! Tag me in your big shifts + takeaways: @amberlilyestrom Did you hear something you loved here today?! Leave a Review + Subscribe via iTunes 

In today's episode of the Karma Stories Podcast, Rob shares five jaw-dropping stories from the r/F***YouKaren subreddit. The episode kicks off with a McDonald's lunch turned chaotic when an entitled 'Karen' demands a table and escalates to a police intervention! Next, we dive into another McDonald's showdown where a child's innocent behavior prompted a hostile response from rude elderly customers. The drama continues with an unruly Karen disrupting a horseback ride, army logistics personnel standing their ground against pushy demands, and a rural mail carrier encountering a particularly intense male Karen. Tune in for these wild tales and more!Submit your own stories to KarmaStoriesPod@gmail.com.Karma Stories is available on all major Podcasting Platforms and on YouTube under the @KarmaStoriesPodcast handle. We cover stories from popular Reddit Subreddits like Entitled Parents, Tales From Tech Support, Pro Revenge and Malicious Compliance. You can find new uploads here every single day of the week!Rob's 3D Printing Site: https://Dangly3D.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/karma-stories--5098578/support.

Jesus makes his final stop before reaching Jerusalem, passing through the ancient town of Jericho. On his way out of town the cries of a blind man reach his ears, compelling him to stop. Our Lord's encounter with and subsequent healing of the blind man are full of Old Testament resonances. In our Gospel we see the fulfillment of many prophecies announcing the arrival of the Messiah, we find fascinating parallels between Joshua's entry into Jericho and our Gospel, and we discover a unique echo of David's encounter with the blind in this encounter of Bartimaeus with Christ on the road to Jerusalem.

Sunday's NFL double-header delivered as we knew it would. But the Kelce Show in Buffalo provided extra sizzle. Czabe talks to GLENN YOUNES of the Ed Reed Foundation about Lamar and Ravens, is Josh Allen "good enough" and more. Also Czabe's mini-review of the Samsung "Frame" TV and his new problem finding a piece of furniture for it! MORE....Our Sponsors:* Check out Indeed and use my code CZABE for a great deal: https://www.indeed.com/ * Check out Rosetta Stone and use my code "TODAY" for a great deal: https://www.rosettastone.com/* Make sure your home bar is stocked for the big game. Check out Drizly: https://drizly.com* Think you're not a boot guy? Think again. Check out Tecovas: http://www.tecovas.comAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy