Podcasts about Overhead

Specialty retailers keep asking us: handheld scanners or overhead readers? So we settled it the only way we know how: with a knockdown, dragout debate between two RFID experts. In this Retail Technology Spotlight, Anne Mezzenga moderates as Madalynn Lauria (Team Handheld) and Pareiya Gupta (Team Overhead) from GreyOrange make their cases for the best RFID solution. From proving ROI on a tight budget to cutting inventory counts from hours to minutes, this conversation tackles the real questions retailers are wrestling with as they decide how to track inventory in 2026. The verdict? It's not as simple as picking a side. Whether you're testing RFID for the first time or scaling across hundreds of stores, the right answer depends on your velocity, your budget, and what you're actually trying to solve. But one thing's clear: manual counts and mystery stockrooms aren't going to cut it anymore. Key Topics covered: • How to test RFID with minimal budget and staff • Cutting inventory counts from hours to under 20 minutes • Why some retailers are going hybrid (overhead + handheld) • Real-time shrink visibility and where product actually disappears • Tracking TikTok trends and moving inventory between stores in hours • The smart fitting room problem nobody talks about Music by hooksounds.com *Sponsored Content* #RFID #retailtech #inventorymanagement #omnitalk #retailinnovation #smartretail #retailpodcast #omnichannelretail #retailoperations #supplychain

Running a business is expensive — and a large portion goes to your team. In this episode, Kirk Behrendt brings back Miranda Beeson, ACT's director of education, to kick off a series on overhead with team compensation percentage. They break down what it is, how it impacts your practice, and what you can do to improve your numbers. To learn how to keep team compensation in a healthy range, listen to Episode 982 of The Best Practices Show!Learn More About Miranda:Send Miranda an email: miranda@actdental.com Follow Miranda on ACT's Instagram: https://www.instagram.com/actdentalSend Gina an email to learn more about ACT: gina@actdental.com More Helpful Links for a Better Practice & a Better Life:Subscribe to The Best Practices Show: https://the-best-practices-show.captivate.fm/listenJoin The Best Practices Association: https://www.actdental.com/bpaDownload ACT's BPA app on the Apple App Store: https://apps.apple.com/us/app/best-practices-association/id6738960360Download ACT's BPA app on the Google Play Store: https://play.google.com/store/apps/details?id=com.actdental.join&hl=en_USJoin ACT's To The Top Study Club: https://www.actdental.com/tttGet The Best Practices Magazine for free: https://www.actdental.com/magazinePlease leave us a review on the podcast: https://podcasts.apple.com/us/podcast/the-best-practices-show-with-kirk-behrendt/id1223838218Episode Resources:Watch the video version of Episode 982: https://www.youtube.com/@actdental/videosMain Takeaways:Think of team compensation as an investment, not an expense.Your team compensation percentage should be between 25% and 30%.If team compensation percentage is over 30%, you are too people-dependent.Define accountabilities, processes, and responsibilities to be systems-dependent.Consider profit-sharing models or hourly plus commission so your team can earn more.Snippets:0:00 Introduction.1:06 Team compensation percentage, explained.3:53 How this metric impacts the practice.10:16 What you can do to impact this metric.16:47 ACT's BPA.Miranda Beeson, MS, BSDH Bio:Miranda Beeson has over 25 years of clinical dental hygiene, front office, practice administration, and speaking experience. She is enthusiastic about communication and loves helping others find the power that words can bring to their patient interactions and practice dynamics. As a Lead Practice Coach, she is driven to create opportunities to find value in experiences and cultivate new...

Today, we will continue our study of the word “Wisdom” in the Scriptures with an emphasis on Glorifying God. Overhead 1:  giving-Glory-to-God.pdf Overhead 2: The-Purpose-of-Christian-Theology-for-Man.pdf –Michael D. Henson, Pastor of Trinity Lutheran Church (Herrin, IL). https://vimeo.com/1144275299?share=copy&fl=sv&fe=ci

On previous episodes of this series, we've talked about the impact of an over-financialized housing market. It adds to the affordability crisis, and leads to eviction and displacement. In this episode, we ask two experts if it's possible to decommodify housing. To build housing that isn't simply a product to be bought, sold, and traded. We speak to David Wachsmuth, associate professor in the School of Urban Planning at McGill University, and Leila Ghaffari, assistant professor of geography, planning, and environment at Concordia University. Is it truly possible to decommodify housing when it's become one of the biggest industries in the country?

Send us a textThinking of starting your own dental practice? Let's talk about how to manage those overhead costs. We partnered with AIDA to help you break down simple, smart ways to manage expenses, boost profits, and keep your practice thriving so you can provide the best dental care to your patients long-term.Join us to discuss all the most important questions about overhead management, including (but not limited to): Expenses to consider when opening a dental practiceOverhead percentage breakdownDental practice profitability calculationsHuge shoutout to our educational partner AIDA for making this episode possible!

The Real Economics of Rural Surgery with Dr. Randy Lehman In this episode of the BOSS Business of Surgery Series, host Dr. Amy Vertrees sits down with rural surgeon Dr. Randy Lehman for a wide-ranging conversation about rural surgery, financial freedom, and the future of surgical practice. Dr. Lehman shares his unconventional journey, from growing up on a farm in northwest Indiana to becoming a national advocate for rural surgery—complete with a helicopter commute between hospitals. Together, they explore what makes rural surgery uniquely fulfilling, why independent practices struggle in today's healthcare economy, and how financial independence can transform a surgeon's career options and impact. What You'll Learn in This Episode Dr. Lehman's Path to Rural Surgery Growing up on a farm, switching from pre-pharmacy to pre-med, and discovering a passion for rural surgery at Purdue and UC Medical School. He describes the unexpected doors that opened and closed along the way, eventually leading him to Mayo Clinic's rural surgery track and a broad, high-volume surgical experience. What Rural Surgeons Really Do Rural surgery offers a broad scope of practice and the ability to care for patients of all ages—often with higher compensation for lower-acuity operations. Dr. Lehman shares examples from his own practice, which spans carpal tunnels to hysterectomies to skin cancer flaps, as well as why he avoids highly complex cases that require tertiary-care resources. Training That Prepares You for Everything He explains the difference between simply rotating through a rural hospital and completing true rural surgery training, which requires high volume across multiple specialties. His own training included over 1,600 cases—far above the national average. The Hard Truth About Practice Models Dr. Lehman opens up about the highs and lows of his post-residency years, including: Pursuing a job at his hometown hospital after it was sold Building a dual-location practice between two small hospitals Attempting an independent practice with $600k annual overhead and only $350k collection Writing $20–30k checks every few weeks just to keep the doors open The takeaway: in today's economic environment, hospitals subsidize surgeons because they recoup facility fees—while most independent practices cannot survive on professional fees alone. Understanding the Economics: RVUs, Overhead, and Reality He breaks down why his independent practice collected only $57 per RVU versus over $100 per RVU when employed—and what that means for surgeons who dream of autonomy. Dr. Lehman and Dr. Bertrand discuss the impact of decreasing reimbursement, increasing overhead, and the future risk of efficiency adjustments and bundled CPT payments. Financial Freedom as a Career Strategy Dr. Lehman's philosophy is simple and powerful: live on very little early in your career, invest wisely, and achieve financial independence fast. He shares: How buying an $86,000 home allowed him to reach financial freedom within two years Why minimalism amplifies your negotiating power The role of real estate in accelerating independence How financial freedom allows him to give away hundreds of thousands of dollars each year Why money magnifies your character—good or bad Building “The Rural American Surgeon” Podcast Despite costing nearly $50,000 per year to produce, his podcast is a passion project aligned with his goal of becoming a national rural surgery leader. He shares why telling these stories matters for rural hospitals, local economies, and the future surgical workforce. Entrepreneurial Thinking in Medicine Dr. Vertrees and Dr. Lehman close with a powerful discussion on why physicians must think like entrepreneurs—not simply RVU generators. They explore how surgeons can reclaim autonomy, redefine their value, and build careers with freedom, flexibility, and mission at the center. Chapters 00:00:00 – Dr. Randy Lehman's Background and Journey 00:03:47 – The Scope and Benefits of Rural Surgery 00:06:00 – Rural Surgery Training and Case Volume 00:13:18 – Practice Models After Residency: Wins and Struggles 00:20:04 – The Real Economics of Surgical Practice 00:29:56 – Financial Philosophy & Becoming Independent Early 00:42:07 – Creating The Rural American Surgeon Podcast 00:47:56 – Entrepreneurial Mindset and Physician Autonomy Action Items & Takeaways Seek a true rural surgery training track, not just rural exposure. Prioritize high-volume operative experience during residency. Buy a modest first home to accelerate financial independence. Practice generosity early, regardless of income. Explore rural surgery as a deeply rewarding and high-impact career path. Connect with Dr. Lehman at ruralamericansurgeon.com for more resources.

Trusting the process is a really important way to free yourself, and the film, to discover what it is.Viridiana Lieberman is an award-winning documentary filmmaker. She recently edited the Netflix sensation The Perfect Neighbor.In this interview we talk:* Viri's love of the film Contact* Immersion as the core goal in her filmmaking* Her editing tools and workflow* Film school reflections* The philosophy and process behind The Perfect Neighbor — crafting a fully immersive, evidence-only narrative and syncing all audio to its original image.* Her thoughts on notes and collaboration* Techniques for seeing a cut with fresh eyesYou can see all of Viri's credits on her IMD page here.Thanks for reading The Creativity, Education, and Leadership Newsletter! Subscribe for free to receive new posts and support my work.Here is an AI-generated transcript of our conversation. Don't come for me.BEN: Viri, thank you so much for joining us today.VIRI: Oh, thank you for having me. I'm excited to be here.BEN: And I always like to start with a fun question. So senior year of high school, what music were you listening to?VIRI: Oh my goodness. Well, I'm class of 2000, so I mean. I don't even know how to answer this question because I listen to everything.I'm like one of those people I was raving, so I had techno in my system. I have a lot of like, um. The, like, everything from Baby Ann to Tsta. Like, there was like, there was a lot, um, Oak and like Paul Oak and Full, there was like techno. Okay. Then there was folk music because I loved, so Ani DeFranco was the soundtrack of my life, you know, and I was listening to Tori Amos and all that.Okay. And then there's like weird things that slip in, like fuel, you know, like whatever. Who was staying? I don't remember when they came out. But the point is there was like all these intersections, whether I was raving or I was at Warp Tour or I was like at Lili Fair, all of those things were happening in my music taste and whenever I get to hear those songs and like that, that back late nineties, um, rolling into the Ox.Yeah.BEN: I love the Venn diagram of techno and folk music.VIRI: Yeah.BEN: Yeah. What, are you a fan of the film inside Lou and Davis?VIRI: Uh, yes. Yes. I need to watch it again. I watched it once and now you're saying it, and I'm like writing it on my to-dos,BEN: but yes, it, it, the first time I saw it. I saw in the East Village, actually in the theater, and I just, I'm a Cohen Brothers fan, but I didn't love it.Mm-hmm. But it, it stayed on my mind and yeah. Now I probably rewatch it once a year. It might, yeah. In my, in my, on my list, it might be their best film. It's so good. Oh,VIRI: now I'm gonna, I'm putting it on my, I'm literally writing it on my, um, post-it to watch it.BEN: I'mVIRI: always looking for things to watch in the evening.BEN: What, what are some of the docs that kind of lit your flame, that really turned you on?VIRI: Uh, this is one of those questions that I, full transparency, get very embarrassed about because I actually did not have a path of documentary set for me from my film Loving Passion. I mean, when I graduated film school, the one thing I knew I didn't wanna do was documentary, which is hilarious now.Hilarious. My parents laugh about it regularly. Um. Because I had not had a good documentary education. I mean, no one had shown me docs that felt immersive and cinematic. I mean, I had seen docs that were smart, you know, that, but, but they felt, for me, they didn't feel as emotional. They felt sterile. Like there were just, I had seen the most cliched, basic, ignorant read of doc.And so I, you know, I dreamed of making space epics and giant studio films. Contact was my favorite movie. I so like there was everything that about, you know, when I was in film school, you know, I was going to see those movies and I was just chasing that high, that sensory high, that cinematic experience.And I didn't realize that documentaries could be. So it's not, you know, ever since then have I seen docs that I think are incredible. Sure. But when I think about my origin tale, I think I was always chasing a pretty. Not classic, but you know, familiar cinematic lens of the time that I was raised in. But it was fiction.It was fiction movies. And I think when I found Docs, you know, when I was, the very long story short of that is I was looking for a job and had a friend who made docs and I was like, put me in coach, you know, as an editor. And she was like, you've never cut a documentary before. I love you. Uh, but not today.But no, she hired me as an archival producer and then I worked my way up and I said, no, okay, blah, blah, blah. So that path showed me, like I started working on documentaries, seeing more documentaries, and then I was always chasing that cinema high, which by the way, documentaries do incredibly, you know, and have for many decades.But I hadn't met them yet. And I think that really informs. What I love to do in Docs, you know, I mean, I think like I, there's a lot that I like to, but one thing that is very important to me is creating that journey, creating this, you know, following the emotion, creating big moments, you know, that can really consume us.And it's not just about, I mean, not that there are films that are important to me, just about arguments and unpacking and education. At the same time, we have the opportunity to do so much more as storytellers and docs and we are doing it anyway. So that's, that's, you know, when, it's funny, when light my fire, I immediately think of all the fiction films I love and not docs, which I feel ashamed about.‘cause now I know, you know, I know so many incredible documentary filmmakers that light my fire. Um, but my, my impulse is still in the fiction world.BEN: Used a word that it's such an important word, which is immersion. And I, I first saw you speak, um, a week or two ago at the doc NYC Pro panel for editors, documentary editors about the perfect neighbor, which I wanna talk about in a bit because talk about a completely immersive experience.But thank you first, uh, contact, what, what is it about contact that you responded to?VIRI: Oh my goodness. I, well, I watched it growing up. I mean, with my dad, we're both sci-fi people. Like he got me into that. I mean, we're both, I mean he, you know, I was raised by him so clearly it stuck around contact for me. I think even to this day is still my favorite movie.And it, even though I'm kind of a style nut now, and it's, and it feels classic in its approach, but. There's something about all the layers at play in that film. Like there is this crazy big journey, but it's also engaging in a really smart conversation, right? Between science and faith and some of the greatest lines from that film.Are lines that you can say to yourself on the daily basis to remind yourself of like, where we are, what we're doing, why we're doing it, even down to the most basic, you know, funny, I thought the world was what we make it, you know, it's like all of these lines from contact that stick with me when he says, you know, um, did you love your father?Prove it. You know, it's like, what? What is proof? You know? So there were so many. Moments in that film. And for me, you know, climbing into that vessel and traveling through space and when she's floating and she sees the galaxy and she says they should have sent a poet, you know, and you're thinking about like the layers of this experience and how the aliens spoilers, um, you know, show up and talk to her in that conversation herself.Anyways, it's one of those. For me, kind of love letters to the human race and earth and what makes us tick and the complexity of identity all in this incredible journey that feels so. Big yet is boiled down to Jody Foster's very personal narrative, right? Like, it's like all, it just checks so many boxes and still feels like a spectacle.And so the balance, uh, you know, I, I do feel my instincts normally are to zoom in and feel incredibly personal. And I love kind of small stories that represent so much and that film in so many ways does that, and all the other things too. So I'm like, how did we get there? But I really, I can't, I don't know what it is.I can't shake that film. It's not, you know, there's a lot of films that have informed, you know, things I love and take me out to the fringe and take me to the mainstream and, you know, on my candy and, you know, all those things. And yet that, that film checks all the boxes for me.BEN: I remember seeing it in the theaters and you know everything you said.Plus you have a master filmmaker at the absolute top Oh god. Of his class. Oh my,VIRI: yes,BEN: yes. I mean, that mirror shot. Know, know, I mean, my jaw was on the ground because this is like, right, right. As CGI is started. Yes. So, I mean, I'm sure you've seen the behind the scenes of how theyVIRI: Yeah.BEN: Incredible.VIRI: Years.Years. We would be sitting around talking about how no one could figure out how he did it for years. Anybody I met who saw contact would be like, but how did they do the mirror shot? Like I nobody had kind of, yeah. Anyways, it was incredible. And you know, it's, and I,BEN: I saw, I saw it just with some civilians, right?Like the mirror shot. They're like, what are you talking about? The what? Huh?VIRI: Oh, it's so funny you bring that up because right now, you know, I went a friend, I have a friend who's a super fan of Wicked. We went for Wicked for Good, and there is a sequence in that film where they do the mirror jot over and over and over.It's like the, it's like the. Special device of that. It feels that way. That it's like the special scene with Glenda and her song. And someone next to me was sitting there and I heard him under his breath go,wow.Like he was really having a cinematic. And I wanted to lean over and be like, watch contact, like, like the first time.I saw it was there and now it's like people have, you know, unlocked it and are utilizing it. But it was, so, I mean, also, let's talk about the opening sequence of contact for a second. Phenomenal. Because I, I don't think I design, I've ever seen anything in cinema in my life like that. I if for anybody who's listening to this, even if you don't wanna watch the entire movie, which of course I'm obviously pitching you to do.Watch the opening. Like it, it's an incredible experience and it holds up and it's like when, yeah. Talk about attention to detail and the love of sound design and the visuals, but the patience. You wanna talk about trusting an audience, sitting in a theater and that silence Ah, yeah. Heaven film heaven.BEN: I mean, that's.That's one of the beautiful things that cinema does in, in the theater. Right. It just, you're in, you're immersed in this case, you know, pulling away from earth through outer space at however many, you know, hundreds of millions of miles an hour. You can't get that anywhere else. Yeah. That feeling,VIRI: that film is like all the greatest hits reel of.Storytelling gems. It's like the adventure, the love, the, you know, the, the complicated kind of smart dialogue that we can all understand what it's saying, but it's, but it's doing it through the experience of the story, you know, and then someone kind of knocks it outta the park without one quote where you gasp and it's really a phenomenal.Thing. Yeah. I, I've never, I haven't talked about contact as much in ages. Thank you for this.BEN: It's a great movie. It's there, and there were, there were two other moments in that movie, again when I saw it, where it's just like, this is a, a master storyteller. One is, yeah. When they're first like trying to decode the image.Mm-hmm. And you see a swastika.VIRI: Yeah. Oh yeah. And you're like,BEN: what the, what the f**k? That was like a total left turn. Right. But it's, it's, and I think it's, it's from the book, but it's like the movie is, it's, it's, you know, it's asking these questions and then you're like totally locked in, not expecting.You know, anything from World War II to be a part of this. And of course in the movie the, go ahead.VIRI: Yeah, no, I was gonna say, but the seed of thatBEN: is in the first shot,VIRI: scientifically educating. Oh yes. Well, the sensory experience, I mean, you're like, your heart stops and you get full Bo chills and then you're scared and you know, you're thinking a lot of things.And then when you realize the science of it, like the first thing that was broadcast, like that type of understanding the stakes of our history in a space narrative. And, you know, it, it just, there's so much. You know, unfurling in your mind. Yeah. In that moment that is both baked in from your lived experiences and what you know about the world, and also unlocking, so what's possible and what stakes have already been outside of this fiction, right?Mm-hmm. Outside of the book, outside of the telling of this, the reality of what has already happened in the facts of it. Yeah. It's really amazing.BEN: And the other moment we're just, and now, you know, being a filmmaker, you look back and I'm sure this is, it falls neatly and at the end of the second act. But when Tom scars, you know, getting ready to go up on the thing and then there's that terrorist incident or whatever, and the whole thing just collapses, the whole, um, sphere collapses and you just like, wait, what?Is that what's gonna happen now?VIRI: Yeah, like a hundred million dollars in it. It does too. It just like clink pun. Yeah. Everything.BEN: Yeah.VIRI: Think they'll never build it again. I mean, you just can't see what's coming after that and how it went down, who it happened to. I mean, that's the magic of that film, like in the best films.Are the ones where every scene, every character, it has so much going into it. Like if somebody paused the film there and said, wait, what's happening? And you had to explain it to them, it would take the entire movie to do it, you know, which you're like, that's, we're in it. Yeah. Anyway, so that's a great moment too, where I didn't, and I remember when they reveal spoilers again, uh, that there's another one, but when he is zooming in, you know, and you're like, oh, you know, it just, it's, yeah.Love it. It's wonderful. Now, I'm gonna watch that tonight too. IBEN: know, I, I haven't probably, I probably haven't watched that movie in 10 years, but now I gotta watch it again.VIRI: Yeah.BEN: Um, okay, so let's talk doc editing. Yes. What, um, I always like to, I heard a quote once that something about when, when critics get together, they talk meaning, and when artists get together, they talk paint.So let's talk paint for a second. What do you edit on?VIRI: I cut mainly on Avid and Premier. I, I do think of myself as more of an avid lady, but there's been a lot of probably the films that have done the most. I cut on Premier, and by that I mean like, it's interesting that I always assume Avid is my standard yet that most of the things that I love most, I cut on Premiere right now.I, I toggle between them both multiple projects on both, on both, um, programs and they're great. I love them equal for different reasons. I'm aBEN: big fan of Avid. I think it gets kind of a, a bad rap. Um, what, what are the benefits of AVID versus pr? I've never used Premier, but I was a big final cut seven person.So everybody has said that. Premier kind of emulates Final cut. Seven.VIRI: I never made a past seven. It's funny, I recently heard people are cutting on Final Cut Pro again, which A adds off. But I really, because I thought that ship had sailed when they went away from seven. So with, I will say like the top line things for me, you know, AVID forces you to control every single thing you're doing, which I actually think it can feel hindering and intimidating to some folks, but actually is highly liberating once you learn how to use it, which is great.It's also wonderful for. Networks. I mean, you can send a bin as a couple kilobyte. Like the idea that the shared workflow, when I've been on series or features with folks, it's unbeatable. Uh, you know, it can be cumbersome in like getting everything in there and stuff like that and all, and, but, but it kind of forces you to set up yourself for success, for online, for getting everything out.So, and there's a lot of good things. So then on conversely Premier. It's amazing ‘cause you can hit the ground running. You just drag everything in and you go. The challenge of course is like getting it out. Sometimes that's when you kind of hit the snaps. But I am impressed when I'm working with multiple frame rates, frame sizes, archival for many decades that I can just bring it into Premier and go and just start cutting.And you know, also it has a lot of intuitive nature with other Adobe Pro, you know, uh, applications and all of this, which is great. There's a lot of shortcuts. I mean, they're getting real. Slick with a lot of their new features, which I have barely met. I'm like an archival, I'm like a ancient picture editor lady from the past, like people always teach me things.They're just like, you know, you could just, and I'm like, what? But I, so I guess I, you know, I don't have all the tech guru inside talk on that, but I think that when I'm doing short form, it does feel like it's always premier long form. Always seems to avid. Team stuff feels avid, you know, feature, low budge features where they're just trying to like make ends meet.Feel Premier, and I think there's an enormous accessibility with Premier in that regard. But I still feel like Avid is a studios, I mean, a, a studio, well, who knows? I'm cut in the studios. But an industry standard in a lot of ways it still feels that way.BEN: Yeah, for sure. How did you get into editing?VIRI: I went to film school and while I was there, I really like, we did everything.You know, we learned how to shoot, we learned everything. Something about editing was really thrilling to me. I, I loved the puzzle of it, you know, I loved putting pieces together. We did these little funny exercises where we would take a movie and cut our own trailer and, you know, or they'd give us all the same footage and we cut our scene from it and.Itwas really incredible to see how different all those scenes were, and I loved finding ways to multipurpose footage, make an entire tone feel differently. You know, like if we're cutting a scene about a bank robbery, like how do you all of a sudden make it feel, you know, like romantic, you know, or whatever.It's like how do we kind of play with genre and tone and how much you can reinvent stuff, but it was really structure and shifting things anyways, it really, I was drawn to it and I had fun editing my things and helping other people edit it. I did always dream of directing, which I am doing now and I'm excited about, but I realized that my way in with editing was like learning how to do a story in that way, and it will always be my language.I think even as I direct or write or anything, I'm really imagining it as if I'm cutting it, and that could change every day, but like when I'm out shooting. I always feel like it's my superpower because when I'm filming it's like I know what I have and how I'll use it and I can change that every hour.But the idea of kind of knowing when you've got it or what it could be and having that reinvented is really incredible. So got into edit. So left film school. And then thought and loved editing, but wasn't like, I'm gonna be an editor. I was still very much on a very over, you know what? I guess I would say like, oh, I was gonna say Overhead, broad bird's eye.I was like, no, I'm gonna go make movies and then I'll direct ‘em and onward, but work, you know, worked in post houses, overnights, all that stuff and PA and try made my own crappy movies and you know, did a lot of that stuff and. It kept coming back to edit. I mean, I kept coming back to like assistant jobs and cutting, cutting, cutting, cutting, and it just felt like something that I had a skill for, but I didn't know what my voice was in that.Like I didn't, it took me a long time to realize I could have a voice as an editor, which was so dumb, and I think I wasted so much time thinking that like I was only search, you know, like that. I didn't have that to bring. That editing was just about. Taking someone else's vision. You know, I'm not a set of hands like I'm an artist as well.I think we all are as editors and I was very grateful that not, not too long into, you know, when I found the doc path and I went, okay, I think this is where I, I can rock this and I'm pretty excited about it. I ended up working with a small collection of directors who all. Respected that collaboration.Like they were excited for what I do and what I bring to it and felt, it made me feel like we were peers working together, which was my fantasy with how film works. And I feel like isn't always the constant, but I've been spoiled and now it's what I expect and what I want to create for others. And you know, I hope there's more of us out there.So it's interesting because my path to editing. Was like such a, a practical one and an emotional one, and an ego one, and a, you know, it's like, it's like all these things that have led me to where I am and the perfect neighbor is such a culmination of all of that. For sure.BEN: Yeah. And, and I want to get into it, uh, first the eternal question.Yeah. Film school worth it or not worth it?VIRI: I mean, listen, I. We'll share this. I think I've shared this before, but relevant to the fact I'll share it because I think we can all learn from each other's stories. I did not want to go to college. Okay? I wanted to go straight to la. I was like, I'm going to Hollywood.I wanted to make movies ever since I was a kid. This is what I'm gonna do, period. I come from a family of teachers. All of my parents are teachers. My parents divorced. I have my stepparent is teacher, like everybody's a teacher. And they were like, no. And not just a teacher. My mom and my dad are college professors, so they were like college, college, college.I sabotaged my SATs. I did not take them. I did not want to go to college. I was like, I am going to Los Angeles. Anyways, uh, my parents applied for me. To an accredited arts college that, and they were like, it's a three year try semester. You'll shoot on film, you can do your, you know, and they submitted my work from high school when I was in TV production or whatever.Anyways, they got me into this little college, and when I look back, I know that that experience was really incredible. I mean, while I was there, I was counting the days to leave, but I know that it gave me not only the foundation of. You know, learning, like, I mean, we were learning film at the time. I don't know what it's like now, but like we, you know, I learned all the different mediums, which was great on a vocational level, you know, but on top of that, they're just throwing cans of film at us and we're making all the mistakes we need to make to get where we need to get.And the other thing that's happening is there's also like the liberal arts, this is really, sounds like a teacher's kid, what I'm about to say. But like, there's also just the level of education To be smarter and learn more about the world, to inform your work doesn't mean that you can't. You can't skip college and just go out there and find your, and learn what you wanna learn in the stories that you journey out to tell.So I feel really torn on this answer because half of me is like. No, you don't need college. Like just go out and make stuff and learn what you wanna learn. And then the other half of me have to acknowledge that, like, I think there was a foundation built in that experience, in that transitional time of like semi-structure, semi independence, you know, like all the things that come with college.It's worth it, but it's expensive as heck. And I certainly, by the time I graduated, film wasn't even a thing and I had to learn digital out in the world. And. I think you can work on a film set and learn a hell of a lot more than you'll ever learn in a classroom. And at the same time, I really love learning.So, you know, my, I think I, my parents were right, they know it ‘cause I went back to grad school, so that was a shock for them. But I think, but yeah, so I, I get, what I would say is, it really is case, this is such a cop out of an answer, case by case basis. Ask yourself, you know, if you need that time and if you, if you aren't gonna go.You need to put in the work. You have to really like go out, go on those sets, work your tail off, seek out the books, read the stuff, you know, and no one's gonna hand you anything. And my stories are a hell of a lot, I think smarter and eloquent because of the education I had. Yeah.BEN: So you shuttle on, what was the school, by the way?VIRI: Well, it was called the, it was called the International Fine Arts College. It no longer exists because Art Institute bought it. It's now called the Miami International University of Art and Design, and they bought it the year I graduated. So I went to this tiny little arts college, uh, but graduated from this AI university, which my parents were like, okay.Um, but we were, it was a tiny little college owned by this man who would invite all of us over to his mansion for brunch every year. I mean, it was very strange, but cool. And it was mainly known for, I think fashion design and interior design. So the film kids, we all kind of had, it was an urban campus in Miami and we were all like kind of in a wado building on the side, and it was just kind of a really funky, misfit feeling thing that I thought was, now when I look back, I think was like super cool.I mean, they threw cans of film at us from the very first semester. There was no like, okay, be here for two years and earn your opportunity. We were making stuff right away and all of our teachers. All of our professors were people who were working in the field, like they were ones who were, you know, writing.They had written films and fun fact of the day, my, my cinematography professor was Sam Beam from Iron and Wine. If anybody knows Iron and Wine, like there's like, there's like we, we had crazy teachers that we now realize were people who were just probably trying to pay their bills while they were on their journey, and then they broke out and did their thing after we were done.BEN: Okay, so shooting on film. Yeah. What, um, was it 16 or 35? 16. And then how are you doing sound? No, notVIRI: 35, 16. Yeah. I mean, we had sound on Dax, you know, like we were recording all the mm-hmm. Oh, when we did the film. Yeah, yeah. Separate. Yeah, yeah, yeah. We did the Yeah. Syncs soundBEN: into a We did a,VIRI: yeah, we did, we did one.We shot on a Bolex, I think, if I remember it right. It did like a tiny, that probably was eight, you know? But the point is we did that on. The flatbed. After that, we would digitize and we would cut on media 100, which was like this. It was, I think it was called the, I'm pretty sure it was called Media 100.It was like this before avid, you know. A more archaic editing digital program that, so we did the one, the one cut and splice version of our, our tiny little films. And then we weren't on kind of beautiful steam backs or anything. It was like, you know, it was much, yeah, smaller. But we had, but you know, we raced in the changing tents and we did, you know, we did a lot of film, love and fun.And I will tell you for your own amusement that we were on set once with somebody making their short. The girl at the AC just grabbed, grabbed the film, what's, oh my God, I can't even believe I'm forgetting the name of it. But, um, whatever the top of the camera grabbed it and thought she had unlocked it, like unhinged it and just pulled it out after all the film just come spooling out on set.And we were like, everybody just froze and we were just standing there. It was like a bad sketch comedy, like we're all just standing there in silence with like, just like rolling out of the camera. I, I'll never forget it.BEN: Nightmare. Nightmare. I, you know, you said something earlier about when you're shooting your own stuff.Being an editor is a little bit of a superpower because you know, oh, I'm gonna need this, I'm gonna need that. And, and for me it's similar. It's especially similar. Like, oh, we didn't get this. I need to get an insert of this ‘cause I know I'm probably gonna want that. I also feel like, you know, I came up, um, to instill photography, 35 millimeter photography, and then when I got into filmmaking it was, um, digital, uh, mini DV tape.So, but I feel like the, um, the structure of having this, you know, you only have 36 shots in a still camera, so you've gotta be sure that that carried over even to my shooting on digital, of being meticulous about setting up the shot, knowing what I need. Whereas, you know, younger people who have just been shooting digital their whole lives that just shoot everything and we'll figure it out later.Yeah. Do do you, do you feel you had that Advant an advantage? Yes. Or sitting on film gave you some advantages?VIRI: I totally, yes. I also am a firm believer and lover of intention. Like I don't this whole, like we could just snap a shot and then punch in and we'll, whatever. Like it was my worst nightmare when people started talking about.We'll shoot scenes and something, it was like eight K, so we can navigate the frame. And I was like, wait, you're not gonna move the camera again. Like, it just, it was terrifying. So, and we passed that, but now the AI stuff is getting dicey, but the, I think that you. I, I am pretty romantic about the hands-on, I like books with paper, you know, like, I like the can, the cinematographer to capture, even if it's digital.And those benefits of the digital for me is like, yes, letting it roll, but it's not about cheating frames, you know, like it's about, it's about the accessibility of being able to capture things longer, or the technology to move smoother. These are good things. But it's not about, you know, simplifying the frame in something that we need to, that is still an art form.Like that's a craft. That's a craft. And you could argue that what we choose, you know, photographers, the choice they make in Photoshop is the new version of that is very different. Like my friends who are dps, you know, there's always like glasses the game, right? The lenses are the game. It's like, it's not about filters In posts, that was always our nightmare, right?The old fix it and post everybody's got their version of their comic strip that says Fix it and post with everything exploding. It's like, no, that's not what this is about. And so, I mean, I, I think I'll always be. Trying to, in my brain fight the good fight for the craftiness of it all because I'm so in love with everything.I miss film. I'm sad. I miss that time. I mean, I think I, it still exists and hopefully someday I'll have the opportunity that somebody will fund something that I'm a part of that is film. And at the same time there's somewhere in between that still feels like it's honoring that freshness. And, and then now there's like the, yeah, the new generation.It's, you know, my kids don't understand that I have like. Hand them a disposable camera. We'll get them sometimes for fun and they will also like click away. I mean, the good thing you have to wind it so they can't, they can't ruin it right away, but they'll kind of can't fathom that idea. And um, and I love that, where you're like, we only get 24 shots.Yeah, it's veryBEN: cool. So you said you felt the perfect neighbor, kind of, that was the culmination of all your different skills in the craft of editing. Can you talk a little bit about that?VIRI: Yes. I think that I spent, I think all the films, it's like every film that I've had the privilege of being a part of, I have taken something like, there's like some tool that was added to the tool belt.Maybe it had to do with like structure or style or a specific build to a quote or, or a device or a mechanism in the film, whatever it is. It was the why of why that felt right. That would kind of be the tool in the tool belt. It wouldn't just be like, oh, I learned how to use this new toy. It was like, no, no.There's some kind of storytelling, experience, technique, emotion that I felt that Now I'm like, okay, how do I add that in to everything I do? And I want every film to feel specific and serve what it's doing. But I think a lot of that sent me in a direction of really always approaching a project. Trying to meet it for like the, the work that only it can do.You know, it's like, it's not about comps. It's not about saying like, oh, we're making a film that's like, fill in the blank. I'm like, how do we plug and play the elements we have into that? It's like, no, what are the elements we have and how do we work with them? And that's something I fought for a lot on all the films I've been a part of.Um, and by that I mean fight for it. I just mean reminding everybody always in the room that we can trust the audience, you know, that we can. That, that we should follow the materials what, and work with what we have first, and then figure out what could be missing and not kind of IME immediately project what we think it needs to be, or it should be.It's like, no, let's discover what it is and then that way we will we'll appreciate. Not only what we're doing in the process, but ultimately we don't even realize what it can do for what it is if we've never seen it before, which is thrilling. And a lot of those have been a part of, there have been pockets of being able to do that.And then usually near the end there's a little bit of math thing that happens. You know, folks come in the room and they're trying to, you know, but what if, and then, but other people did. Okay, so all you get these notes and you kind of reel it in a little bit and you find a delicate balance with the perfect neighbor.When Gita came to me and we realized, you know, we made that in a vacuum like that was we, we made that film independently. Very little money, like tiny, tiny little family of the crew. It was just me and her, you know, like when we were kind of cutting it together and then, and then there's obviously producers to kind of help and build that platform and, and give great feedback along the way.But it allowed us to take huge creative risks in a really exciting way. And I hate that I even have to use the word risks because it sounds like, but, but I do, because I think that the industry is pushing against, you know, sometimes the spec specificity of things, uh, in fear of. Not knowing how it will be received.And I fantasize about all of us being able to just watch something and seeing how we feel about it and not kind of needing to know what it is before we see it. So, okay, here comes the perfect neighbor. GTA says to me early on, like, I think. I think it can be told through all these materials, and I was like, it will be told through like I was determined and I held us very strict to it.I mean, as we kind of developed the story and hit some challenges, it was like, this is the fun. Let's problem solve this. Let's figure out what it means. But that also came within the container of all this to kind of trust the audience stuff that I've been trying to repeat to myself as a mantra so I don't fall into the trappings that I'm watching so much work do.With this one, we knew it was gonna be this raw approach and by composing it completely of the evidence, it would ideally be this kind of undeniable way to tell the story, which I realized was only possible because of the wealth of material we had for this tracked so much time that, you know, took the journey.It did, but at the same time, honoring that that's all we needed to make it happen. So all those tools, I think it was like. A mixed bag of things that I found that were effective, things that I've been frustrated by in my process. Things that I felt radical about with, you know, that I've been like trying to scream in, into the void and nobody's listening.You know, it's like all of that because I, you know, I think I've said this many times. The perfect neighbor was not my full-time job. I was on another film that couldn't have been more different. So I think in a, in a real deep seated, subconscious way, it was in conversation with that. Me trying to go as far away from that as possible and in understanding what could be possible, um, with this film.So yeah, it's, it's interesting. It's like all the tools from the films, but it was also like where I was in my life, what had happened to me, you know, and all of those. And by that I mean in a process level, you know, working in film, uh, and that and yes, and the values and ethics that I honor and wanna stick to and protect in the.Personal lens and all of that. So I think, I think it, it, it was a culmination of many things, but in that approach that people feel that has resonated that I'm most proud of, you know, and what I brought to the film, I think that that is definitely, like, I don't think I could have cut this film the way I did at any other time before, you know, I think I needed all of those experiences to get here.BEN: Oh, there's so much there and, and there's something kind of the. The first part of what you were saying, I've had this experience, I'm curious if you've had this experience. I sort of try to prepare filmmakers to be open to this, that when you're working with something, especially Doc, I think Yeah. More so Doc, at a certain point the project is gonna start telling you what it wants to be if you, if you're open to it.Yes. Um, but it's such a. Sometimes I call it the spooky process. Like it's such a ephemeral thing to say, right? Like, ‘cause you know, the other half of editing is just very technical. Um, but this is like, there's, there's this thing that's gonna happen where it's gonna start talking to you. Do you have that experience?VIRI: Yes. Oh, yes. I've also been a part of films that, you know, they set it out to make it about one person. And once we watched all the footage, it is about somebody else. I mean, there's, you know, those things where you kind of have to meet the spooky part, you know, in, in kind of honoring that concept that you're bringing up is really that when a film is done, I can't remember cutting it.Like, I don't, I mean, I remember it and I remember if you ask me why I did something, I'll tell you. I mean, I'm very, I am super. Precious to a fault about an obsessive. So like you could pause any film I've been a part of and I'll tell you exactly why I used that shot and what, you know, I can do that. But the instinct to like just grab and go when I'm just cutting and I'm flowing.Yeah, that's from something else. I don't know what that is. I mean, I don't. People tell me that I'm very fast, which is, I don't know if that's a good or a bad thing, but I think it really comes from knowing that the job is to make choices and you can always go back and try different things, but this choose your own adventure novel is like just going, and I kind of always laugh about when I look back and I'm like, whoa, have that happen.Like, you know, like I don't even. And I have my own versions of imposter syndrome where I refill mens and I'm like, oh, got away with that one. Um, or every time a new project begins, I'm like, do I have any magic left in the tank? Um, but, but trusting the process, you know, to what you're socking about is a really important way to free yourself and the film to.Discover what it is. I think nowadays because of the algorithm and the, you know, I mean, it's changing right now, so we'll see where, how it recalibrates. But for a, for a while, over these past years, the expectations have, it's like shifted where they come before the film is like, it's like you create your decks and your sizzles and you write out your movie and you, and there is no time for discovery.And when it happens. It's like undeniable that you needed to break it because it's like you keep hitting the same impasse and you can't solve it and then you're like, oh, that's because we have to step outta the map. But I fear that many works have suffered, you know, that they have like followed the map and missed an opportunity.And so, you know, and for me as an editor, it's always kinda a red flag when someone's like, and here's the written edit. I'm like, what? Now let's watch the footage. I wanna know where There's always intention when you set up, but as people always say, the edit is kind of the last. The last step of the storytelling process.‘cause so much can change there. So there is, you know, there it will reveal itself. I do get nerdy about that. I think a film knows what it is. I remember when I was shooting my first film called Born to Play, that film, we were. At the championship, you know, the team was not, thought that they were gonna win the whole thing.We're at the championship and someone leaned over to me and they said, you know, it's funny when a story knows it's being filmed. And I was like, ah. I think about that all the time because now I think about that in the edit bay. I'm like, okay, you tell me, you know, what do you wanna do? And then you kind of like, you match frame back to something and all of a sudden you've opened a portal and you're in like a whole new theme.It's very cool. You put, you know, you put down a different. A different music temp, music track, and all of a sudden you're making a new movie. I mean, it's incredible. It's like, it really is real world magic. It's so much fun. Yeah,BEN: it is. It's a blast. The, so, uh, I saw you at the panel at Doc NYC and then I went that night or the next night and watched Perfect Neighbor blew me away, and you said something on the panel that then blew me away again when I thought about it, which is.I think, correct me if I'm wrong, all of the audio is syncedVIRI: Yeah. To the footage.BEN: That, to me is the big, huge, courageous decision you made.VIRI: I feel like I haven't said that enough. I don't know if folks understand, and it's mainly for the edit of that night, like the, I mean, it's all, it's, it's all that, but it was important.That the, that the sound would be synced to the shock that you're seeing. So when you're hearing a cop, you know, a police officer say, medics, we need medics. If we're in a dashboard cam, that's when it was, you know, echoing from the dashboard. Like that's what, so anything you're hearing is synced. When you hear something coming off from the per when they're walking by and you hear someone yelling something, you know, it's like all of that.I mean, that was me getting really strict about the idea that we were presenting this footage for what it was, you know, that it was the evidence that you are watching, as you know, for lack of a better term, unbiased, objectively as possible. You know, we're presenting this for what it is. I, of course, I have to cut down these calls.I am making choices like that. That is happening. We are, we are. Composing a narrative, you know, there, uh, that stuff is happening. But to create, but to know that what you're hearing, I'm not applying a different value to the frame on, on a very practical syn sound way. You know, it's like I'm not gonna reappropriate frames.Of course, in the grand scheme of the narrative flow with the emotions, you know, the genre play of this horror type film, and there's a lot happening, but anything you were hearing, you know, came from that frame. Yeah.BEN: That's amazing. How did you organize the footage and the files initially?VIRI: Well, Gita always likes to laugh ‘cause she is, she calls herself my first ae, which is true.I had no a, you know, I had, she was, she had gotten all that material, you know, she didn't get that material to make a film. They had originally, this is a family friend who died and when this all happened, they went down and gathered this material to make a case, to make sure that Susan didn't get out. To make sure this was not forgotten.You know, to be able to utilize. Protect the family. And so there was, at first it was kind of just gathering that. And then once she got it, she realized that it spanned two years, you know, I mean, she, she popped, she was an editor for many, many years, an incredible editor. She popped it into a system, strung it all out, sunk up a lot of it to see what was there, and realized like, there's something here.And that's when she called me. So she had organized it, you know, by date, you know, and that, that originally. Strung out a lot of it. And then, so when I came in, it was just kind of like this giant collection of stuff, like folders with the nine one calls. How long was the strung out? Well, I didn't know this.Well, I mean, we have about 30 hours of content. It wasn't one string out, you know, it was like there were the call, all the calls, and then the 9 1 1 calls, the dash cams. The ring cams. Okay. Excuse me. The canvassing interviews, audio only content. So many, many. Was about 30 hours of content, which honestly, as most of us editors know, is not actually a lot I've cut.You know, it's usually, we have tons more than that. I mean, I, I've cut decades worth of material and thousands of hours, you know, but 30 hours of this type of material is very specific, you know, that's a, that's its own challenge. So, so yeah. So the first, so it was organized. It was just organized by call.Interview, you know, some naming conventions in there. Some things we had to sync up. You know, the 9 1 1 calls would overlap. You could hear it in the nine one one call center. You would hear someone, one person who called in, and then you'd hear in the background, like the conversation of another call. It's in the film.There's one moment where you can hear they're going as fast as they can, like from over, from a different. So there was so much overlap. So there was some syncing that we kind of had to do by ear, by signals, by, you know, and there's some time coding on the, on the cameras, but that would go off, which was strange.They weren't always perfect. So, but that, that challenge unto itself would help us kind of really screen the footage to a finite detail, right. To like, have, to really understand where everybody is and what they're doing when,BEN: yeah. You talked about kind of at the end, you know, different people come in, there's, you know, maybe you need to reach a certain length or so on and so forth.How do you, um, handle notes? What's your advice to young filmmakers as far as navigating that process? Great question.VIRI: I am someone who, when I was a kid, I had trouble with authority. I wasn't like a total rebel. I think I was like a really goody goody too. She was borderline. I mean, I had my moments, but growing up in, in a journey, an artistic journey that requires you to kind of fall in love with getting critiques and honing things and working in teams.And I had some growing pains for a long time with notes. I mean, my impulse was always, no. A note would come and I'd go, no, excuse me. Go to bed, wake up. And then I would find my way in and that would be great. That bed marinating time has now gone away, thank goodness. And I have realized that. Not all notes, but some notes have really changed the trajectory of a project in the most powerful waves.And it doesn't always the, to me, what I always like to tell folks is it's, the notes aren't really the issues. It's what? It's the solutions people offer. You know? It's like you can bring up what you're having an issue with. It's when people kind of are like, you know what I would do? Or you know what you think you should do, or you could do this.You're like, you don't have to listen to that stuff. I mean, you can. You can if you have the power to filter it. Some of us do, some of us don't. I've worked with people who. Take all the notes. Notes and I have to, we have to, I kind of have to help filter and then I've worked with people who can very quickly go need that, don't need that need, that, don't need that.Hear that, don't know how to deal with that yet. You know, like if, like, we can kind of go through it. So one piece of advice I would say is number one, you don't have to take all the notes and that's, that's, that's an honoring my little veary. Wants to stand by the vision, you know, and and fight for instincts.Okay. But the second thing is the old classic. It's the note behind the note. It's really trying to understand where that note's coming from. Who gave it what they're looking for? You know, like is that, is it a preference note or is it a fact? You know, like is it something that's really structurally a problem?Is it something that's really about that moment in the film? Or is it because of all the events that led to that moment that it's not doing the work you think it should? You know, the, the value is a complete piece. So what I really love about notes now is I get excited for the feedback and then I get really excited about trying to decipher.What they mean, not just taking them as like my to-do list. That's not, you know, that's not the best way to approach it. It's really to get excited about getting to actually hear feedback from an audience member. Now, don't get me wrong, an audience member is usually. A producer in the beginning, and they have, they may have their own agenda, and that's something to know too.And maybe their agenda can influence the film in an important direction for the work that they and we all wanted to do. Or it can help at least discern where their notes are coming from. And then we can find our own emotional or higher level way to get into solving that note. But, you know, there's still, I still get notes that make me mad.I still get notes where I get sad that I don't think anybody was really. Watching it or understanding it, you know, there's always a thought, you know, that happens too. And to be able to read those notes and still find that like one kernel in there, or be able to read them and say, no kernels. But, but, but by doing that, you're now creating the conviction of what you're doing, right?Like what to do and what not to do. Carrie, equal value, you know, so you can read all these notes and go, oh, okay, so I am doing this niche thing, but I believe in it and. And I'm gonna stand by it. Or like, this one person got it and these five didn't. And I know that the rules should be like majority rules, but that one person, I wanna figure out why they got it so that I can try to get these, you know, you get what I'm saying?So I, I've grown, it took a long time for me to get where I am and I still have moments where I'm bracing, you know, where I like to scroll to see how many notes there are before I even read them. You know, like dumb things that I feel like such a kid about. But we're human. You know, we're so vulnerable.Doing this work is you're so naked and you're trying and you get so excited. And I fall in love with everything. I edit so furiously and at every stage of the process, like my first cut, I'm like, this is the movie. Like I love this so much. And then, you know, by the 10th root polling experience. I'm like, this is the movie.I love it so much. You know, so it's, it's painful, but at the same time it's like highly liberating and I've gotten a lot more flowy with it, which was needed. I would, I would encourage everybody to learn how to really enjoy being malleable with it, because that's when you find the sweet spot. It's actually not like knowing everything right away, exactly what it's supposed to be.It's like being able to know what the heart of it is. And then get really excited about how collaborative what we do is. And, and then you do things you would've never imagined. You would've never imagined, um, or you couldn't have done alone, you know, which is really cool. ‘cause then you get to learn a lot more about yourself.BEN: Yeah. And I think what you said of sort of being able to separate the idea of, okay, something maybe isn't clicking there, versus whatever solution this person's offering. Nine times outta 10 is not gonna be helpful, but, but the first part is very helpful that maybe I'm missing something or maybe what I want to connect is not connecting.VIRI: And don't take it personally. Yeah. Don't ever take it personally. I, I think that's something that like, we're all here to try to make the best movie we can.BEN: Exactly.VIRI: You know? Yeah. And I'm not gonna pretend there aren't a couple sticklers out there, like there's a couple little wrenches in the engine, but, but we will, we all know who they are when we're on the project, and we will bind together to protect from that.But at the same time, yeah, it's, yeah. You get it, you get it. Yeah. But it's really, it's an important part of our process and I, it took me a while to learn that.BEN: Last question. So you talked about kind of getting to this cut and this cut and this cut. One of the most important parts of editing, I think is especially when, when you've been working on a project for a long time, is being able to try and see it with fresh eyes.And of course the, one of the ways to do that is to just leave it alone for three weeks or a month or however long and then come back to it. But sometimes we don't have that luxury. I remember Walter Merch reading in his book that sometimes he would run the film upside down just to, mm-hmm. You know, re re redo it the way his brain is watching it.Do you have any tips and tricks for seeing a cut with fresh eyes? OhVIRI: yeah. I mean, I mean, other than stepping away from it, of course we all, you know, with this film in particular, I was able to do that because I was doing other films too. But I, one good one I always love is take all the music out. Just watch the film without music.It's really a fascinating thing. I also really like quiet films, so like I tend to all of a sudden realize like, what is absolutely necessary with the music, but, but it, it really, people get reliant on it, um, to do the work. And you'd be pleasantly surprised that it can inform and reinvent a scene to kind of watch it without, and you can, it's not about taking it out forever, it's just the exercise of watching what the film is actually doing in its raw form, which is great.Switching that out. I mean, I can, you know, there's other, washing it upside down, I feel like. Yeah, I mean like there's a lot of tricks we can trick our trick, our brain. You can do, you could also, I. I think, I mean, I've had times where I've watched things out of order, I guess. Like where I kind of like go and I watch the end and then I click to the middle and then I go back to the top, you know?And I'm seeing, like, I'm trying to see if they're all connecting, like, because I'm really obsessed with how things begin and how they end. I think the middle is highly important, but it really, s**t tells you, what are we doing here? Like what are we set up and where are we ending? And then like, what is the most effective.Journey to get there. And so there is a way of also kind of trying to pinpoint the pillars of the film and just watching those moments and not kind, and then kind of reverse engineering the whole piece back out. Yeah, those are a couple of tricks, but more than anything, it's sometimes just to go watch something else.If you can't step away from the project for a couple of weeks, maybe watch something, you could, I mean, you can watch something comparable in a way. That tonally or thematically feels in conversation with it to just kind of then come back and feel like there's a conversation happening between your piece and that piece.The other thing you could do is watch something so. Far different, right? Like, even if you like, don't like, I don't know what I'm suggesting, you'd have to, it would bend on the project, but there's another world where like you're like, all right, I'm gonna go off and watch some kind of crazy thrill ride and then come back to my slow burn portrait, you know, and, and just, just to fresh the pal a little bit, you know?I was like that. It's like fueling the tanks. We should be watching a lot of stuff anyways, but. That can happen too, so you don't, you also get to click off for a second because I think we can get, sometimes it's really good to stay in it at all times, but sometimes you can lose the force for the, you can't see it anymore.You're in the weeds. You're too close to it. So how do we kind of shake it loose? Feedback sessions, by the way, are a part, is a part of that because I think that when you sit in the back of the room and you watch other people watch the film, you're forced to watch it as another person. It's like the whole thing.So, and I, I tend to watch people's body language more than, I'm not watching the film. I'm like watching for when people shift. Yeah, yeah. I'm watching when people are like coughing or, you know, or when they, yeah. Whatever. You get it. Yeah. Yeah. That, that, soBEN: that is the most helpful part for me is at a certain point I'll bring in a couple friends and I'll just say, just want you to watch this, and I'm gonna ask you a couple questions afterwards.But 95% of what I need is just sitting there. Watching them and you said exactly. Watching their body language.VIRI: Yeah. Oh man. I mean, this was shoulder, shoulder shooks. There's, and you can tell the difference, you can tell the difference between someone's in an uncomfortable chair and someone's like, it's like whenever you can sense it if you're ever in a theater and you can start to sense, like when they, when they reset the day, like whenever we can all, we all kind of as a community are like, oh, this is my moment.To like get comfortable and go get a bite of popcorn. It's like there's tells, so some of those are intentional and then some are not. Right? I mean, if this is, it goes deeper than the, will they laugh at this or will they be scared at this moment? It really is about captivating them and feeling like when you've, when you've lost it,BEN: for sure.Yeah. Very. This has been fantastic. Oh my God, how fun.VIRI: I talked about things here with you that I've haven't talked, I mean, contact so deeply, but even film school, I feel like I don't know if that's out there anywhere. So that was fun. Thank you.BEN: Love it. Love it. That, that that's, you know, that's what I hope for these interviews that we get to things that, that haven't been talked about in other places.And I always love to just go in, you know, wherever the trail leads in this case. Yeah. With, uh, with Jody Foster and Math McConaughey and, uh, I mean, go see it. Everybody met this. Yeah. Uh, and for people who are interested in your work, where can they find you?VIRI: I mean, I don't update my website enough. I just go to IMDB.Look me up on IMDB. All my work is there. I think, you know, in a list, I've worked on a lot of films that are on HBO and I've worked on a lot of films and now, you know, obviously the perfect neighbor's on Netflix right now, it's having an incredible moment where I think the world is engaging with it. In powerful ways beyond our dreams.So if you watch it now, I bet everybody can kind of have really fascinating conversations, but my work is all out, you know, the sports stuff born to play. I think it's on peacock right now. I mean, I feel like, yeah, I love the scope that I've had the privilege of working on, and I hope it keeps growing. Who knows.Maybe I'll make my space movie someday. We'll see. But in the meantime, yeah, head over and see this, the list of credits and anything that anybody watches, I love to engage about. So they're all, I feel that they're all doing veryBEN: different work. I love it. Thank you so much.VIRI: Thank you. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit benbo.substack.com

Today, we will continue our study of the word “Wisdom” in the Scriptures with an emphasis on the purposes for the individual Christian and the corporate church. Overhead 1: Luther-on-Wisdom-including-vocation.pdf Overhead 2: Giving-Glory-to-God.pdf –Michael D. Henson, Pastor of Trinity Lutheran Church (Herrin, IL). Picture: Candle two of the Advent Wreath. https://vimeo.com/1141827869?share=copy&fl=sv&fe=ci

What can you learn about budgeting from Santa's Holiday preparation?   What lessons do the holiday bring? On this week's episode of The Crushing Debt Podcast, Shawn & George talk about: Overhead costs Supply chain issues Labor force issues North Pole budgeting Budgeting among multiple celebrations Gift-giving expectations Holiday season cash-flow We hope you had an amazing Thanksgiving break and a great holiday season. For Thanksgiving, it would mean a lot to us for you to please share this episode with your friends! Or, you can support the show by visiting our Patreon page: https://www.patreon.com/crushingDebt   To contact George Curbelo, you can email him at GCFinancialCoach21@gmail.com or follow his Tiktok channel - https://www.tiktok.com/@curbelofinancialcoach   To contact Shawn Yesner, you can email him at Shawn@Yesnerlaw.com or visit www.YesnerLaw.com. And please consider a donation to Pancreatic Cancer research and education by joining Shawn's team at MY Legacy Striders: http://support.pancan.org/goto/MyLegacy2026 

In Episode 6.3 of The CEO Podcast, Scott De Long, Ph.D., and Vince Moiso explore how culture shapes organizational success. They discuss culture as a living system that evolves with each new hire and business shift, requiring leadership to nurture and align it with core values. Scott explains that culture happens whether leaders manage it or not; it's how things get done within the company. Vince adds that failing to direct culture leads to misalignment and toxicity. Both stress that true culture management requires clarity in vision, mission, and values across all levels. They conclude that culture isn't a cost but the container that makes sustainable performance possible. A strong, aligned culture fosters communication, reduces turnover, and builds lasting engagement. Key Takeaways: Culture exists with or without leadership; intentional direction makes the difference. Alignment between personal and organizational values drives sustainable success. Investing in culture pays off through engagement, retention, and performance. Key Insights: Culture evolves continuously; leaders must shape it deliberately. Misaligned values are the root of toxic workplaces. Communication defines and sustains company culture. Hiring for cultural fit prevents future misalignment. Engaged employees lead to happier customers and stronger results. Culture building should involve all team levels, not just leadership. Cross-functional collaboration strengthens cultural understanding. Influence, not control, sustains healthy organizational dynamics. Transparency and empathy foster trust in the workplace. Leaders should ask whether employees see the culture the same way leadership does. Connect: Scott De Long, Ph.D. & Lead2Goals Instagram: @scottdelongphd @lead2goals.com LinkedIn: @scottdelongphd Web: lead2goals.com Email: scott@lead2goals.com Books: I Thought I Was A Leader You Win Again, Jack (New for 2025!) Vince Moiso & Vis Business Group Instagram: @visbiz.us LinkedIn: @vincentmoiso Web: visbiz.us Email: vince@visbiz.us Books How to Survive in the Wilderness The CEO Podcast Instagram | @theceopodcast LinkedIn | @the-ceo-podcast Facebook | @theceopodcast

Bible Class #4: November 30, 2025  Link to Live Stream Today, we will continue our study of the word “Wisdom” in the Scriptures with an emphasis on the understanding of God’s ways and the endurance of evil. Overhead 1: Wisdom-Words.pdf –Michael D. Henson, Pastor of Trinity Lutheran Church (Herrin, IL). https://vimeo.com/1139811328?share=copy&fl=sv&fe=ci Picture: Bp. James Heiser preaching at the Installation of Pastor Jacob Henson at Apologia Lutheran Church (Deer Park, WI)

While arable growers have a good handle on in-paddock crop gross margins, many don’t account for their overhead costs like rates and insurance. In this episode of Cut the Crop, Leeston arable farmer David Birkett test drives a new FAR overhead costs spreadsheet.See omnystudio.com/listener for privacy information.

In this episode of the Successful Stylist Academy Podcast, Ambrosia pulls back the curtain on one of the most confusing parts of running a profitable business as an independent stylist or salon owner: where your money actually goes. Instead of just looking at your bank balance and hoping for the best, she walks you through a simple "waterfall" visual so you can see how every dollar flows through your business, into costs, marketing, overhead, education, and finally: profit. You'll learn realistic percentage benchmarks for each category, the most common money leaks that silently eat into your income, and how to fix them without adding more hours behind the chair. If you've ever felt busy but not truly profitable, this conversation will help you reclaim your confidence, your cash flow, and your long-term freedom. Get FREE access to our Creative Service Profit Maker Webinar now!  The booking software that makes my job easier is GlossGenius with AI support to make tasks as simple as clicking a button! Try it out for 2 weeks FREE: https://glossgenius.biz/AmbrosiaCarey Want more episodes like this? Drop a review here & tell us what you want to hear more of: https://podcasts.apple.com/us/podcast/successful-stylist-academy/id1584273127 Key Take-Aways: 1. Think of your business like a waterfall, not just a bank balance. 2. Money flows from the faucet into a series of "glass cups" : direct costs, client acquisition, overhead, growth, and finally profit. 3. When you see each glass clearly, you stop assuming all the money in your bank account is truly yours and start treating it as money with a job.   4. Get clear on your direct costs (COGS) so every bowl of color is profitable.  5. Direct costs include anything you touch, mix, or use on your client: color, lightener, developer, foils, gloves, towels, shampoo, conditioner, cleaning supplies, and even credit card fees.  6. Aim to keep these costs around 10–12% of your total revenue, and know that once you creep toward 15–20%, it is a danger zone and a clear sign you need a price increase.  7. Stop overordering and start pricing services with product usage in mind. 8. Common leaks include buying too much inventory, letting products expire, turning unsold retail into backbar, and never updating prices when suppliers raise theirs. 9. Fix this by using systems or software to track inventory, calculating your cost per scoop or per gram, and doing a quick monthly inventory check so your shelves are lean and intentional, not a graveyard of old product.   10. Track your Customer Acquisition Cost (CAC) so your marketing actually pays you back. 11. Your CAC includes ads, promos, new client discounts, referral rewards, branding shoots, social media time, website, and booking software that help you get clients in the door. 12. A healthy benchmark is 5–10% of your revenue, and a simple formula is: if you spend $200 on ads and get 5 new clients, your CAC is $40 per client and each client should bring in at least four times that in lifetime value.   13. Prioritize retention over constant hustle for new clients. 14. Common mistakes are chasing visibility without conversion, not tracking where new clients come from, and focusing more on strangers online than on the guests already in your chair. 15. Track first-time versus repeat clients monthly, create a simple referral system with a clear reward, and double down on the platforms and efforts that are actually sending you clients, not just likes.  16. Audit your overhead before it quietly drains your profit. 17. Overhead includes rent or booth rent, utilities, Wi-Fi, insurance, software, accounting, subscriptions, cleaning, payroll taxes, and benefits. 18. Ideally, this lands between 35–45% of your total revenue, and when it creeps toward 50% or higher, you either need to cut costs, raise prices, or both to keep your business from tipping upside down.   19. Be ruthless with subscriptions and intentional with tax planning. 20.Typical leaks are paying for apps and tools you no longer use, overspending on décor or space that does not match your income level, and failing to save ahead for taxes. 21. Quarterly, comb through subscriptions, automate your bookkeeping and reports, and move around 30% of your profit into a separate tax or high-yield savings account so you are not surprised at year-end.  22. Treat education, events, and travel as growth costs; not automatic write-offs. 23. Hair shows, classes, coaching, membership programs, flights, hotels, and meals are powerful when they are strategic, but expensive when they are random. 24. Try to keep these growth costs under about 8–10% of your annual revenue, give every class a clear action plan for how you will turn it into income, and look for ways to turn trips into content, offers, or digital assets you can reuse.   25. Decide how your profit will be divided before it hits your account. 26. Profit is what remains after all buckets are filled, and it is not the same as your paycheck.  27. A sample breakdown is: 30% for taxes, 10% for emergency reserves, 10–15% to reinvest in education, marketing, or tools, and 45–55% to pay yourself, so every dollar has a purpose instead of disappearing.  28. Do a simple money audit and fix just one leak this month. 29. Look at last month's income and write down what you spent on supplies, client acquisition, overhead, and education, then see what was truly left as profit.   Get 15% off Pharmagel, our favorite skincare line with code SSA15: http://www.pharmagel.net/discount/ssa15?redirect=%2F%3Fafmc%3Dssa15  

How to Increase Profit, Lower Costs, and Build a Simpler, Richer Lifestyle Practice. Connect with us: • Learn more about 1-on-1 coaching • Get access to TLP Academy • Suscribe to The Lifestyle Practice Podcast • Email Derek at derek@thelifestylepractice.com • Email Matt at matt@thelifestylepractice.com • Email Steve at steve@thelifestylepractice.com

Today, we will have a one Sunday class on the Advent Season. Overhead 1: ADVENT-2025-Adult-Bible-Studies-b.pdf –Michael D. Henson, Pastor of Trinity Lutheran Church (Herrin, IL). https://vimeo.com/1137426542?share=copy&fl=sv&fe=ci Picture: The Installation of Pastor Jacob Henson at Apologia Lutheran Church (Deer Park, WI)

The Weekend Edition of the Go Radio Football Show Podcast with Burger King! This highlights episode dives into Scotland's footballing future and celebrates its present triumphs. From Stevie Clarke's emotional reflections on World Cup qualification to fans' euphoric reactions, we explore the highs, the heroes, and the heart behind the game. Plus, we tackle the drama surrounding Celtic's AGM and what it means for the club's future. Expect insider stories, tactical breakdowns, and passionate debates on domestic football, European ambitions, and the next big names to watch. Key Highlights: Stevie Clarke's Best Feeling Ever: Why qualifying for the World Cup means more than anything. Fan Frenzy: Stevie from Craig End brings the energy—Tierney's wonder strike, McTominay's overhead kick, and McLean's halfway-line magic. Goal of the Century? Experts weigh in on McTominay's acrobatics and McLean's audacity. Domestic Drama: Hearts lead the pack—can Celtic and Rangers catch up? Full table analysis and predictions. Transfer Talk: Will Maeda stay? Is Raskin EPL-ready? The January window looms large. Behind the Scenes: Visualisation in football—how dreaming big can change careers. Personal Stories: Charlie Mulgrew's unforgettable Celtic Park moment and the psychology of performance. Celtic AGM Chaos: Booing, red cards, and calls for change—what's next for the boardroom battle? The Go Radio Football Show, weeknights from 5pm-7pm across Scotland on DAB, Online, Smart Speaker and on the Go Radio App. IOS: https://apps.apple.com/gb/app/go-radio/id1510971202 Android: https://play.google.com/store/apps/details?id=uk.co.thisisgo.goradio&pcampaignid=web_share  In Association with Burger King. Home of the Whopper, home delivery half time or full time, exclusively on the Burger King App  https://www.burgerking.co.uk/download-bk-app Follow us @thisisgoradio on Instagram, Facebook, LinkedIn and Tik Tok  Watch on YouTube: https://www.youtube.com/watch?v=mbsfwnlMFeI&list=PLBoA8NYTpHtcqoS3M5IrA0C7K-iCmvg-F For more Go Creative Podcasts, head to: https://thisisgo.co.uk/podcasts/  Facebook: https://www.facebook.com/share/1ATeQD...

Trains passing overhead on a overpass at Savignyplatz on a Sunday morning in Berlin, with light rain clearly audible too. Recorded in September 2025 by Cities and Memory. 

What if you could flip vacant land for solid profits—without dealing with tenants, toilets, or big budgets? In this episode, Larry Jarnigo shares how he runs a lean land-flipping business from his home office in Tennessee, doing 25–30 deals a year. Larry breaks down his simple approach: buy low, sell fast, and keep overhead small. He even walks us through a recent deal where he turned $33K into $52K in just two months. Discover how Larry uses direct mail, cold calling, and smart strategy to uncover deals—and why land might be the best-kept secret in real estate.

Today, we will continue with Study #3 of the word "Wisdom" in the Scriptures. Overhead 1: Wisdom-Words.pdf --Michael D. Henson, Pastor of Trinity Lutheran Church (Herrin, IL). https://vimeo.com/1135070469?share=copy&fl=sv&fe=ci Picture: The Installation of Pastor Jacob Henson at Apologia Lutheran Church (Deer Park, WI)

What's behind Iowa's rapid move toward the GOP? Hear the latest analysis, meet ISU's new leader, learn how auroras lit up Iowa skies and get ready for Cranksgiving.

Are you a dentist or practice owner who's said, "I'll figure it out," or, "I can't lower my overhead"? In this candid episode, the hosts dive into the most common—and costly—phrases dentists use that hold them back from financial freedom and practice success.We discuss how a spouse's perspective can be the key to overcoming financial stress and the critical importance of defining your specific retirement timing and goals. Stop letting these phrases cost you time and money—it's time to build a clear, profitable plan.Interested in more info on how to: Earn More, Save More, and Retire EarlyUpcoming Tour Dates: Go to our EVENTS page for infoFacebook: Four Quadrants AdvisoryInstagram: @fourquadrantsadvisoryLinkedIn: Four Quadrants Advisory

WSDOT crews will close the right lane of southbound I-5 in Vancouver on Nov. 13 between mileposts 4.6 and 4.4 to repair an overhead sign and message board. Travelers should expect delays and drive carefully through the work zone. https://www.clarkcountytoday.com/news/lane-closure-scheduled-on-southbound-i-5-in-vancouver-for-overhead-sign-and-message-board-repairs-nov-13/ #VancouverWA #WSDOT #I5 #Transportation #TrafficAlert #RoadWork #ClarkCounty #TravelAdvisory #WorkZoneSafety #Maintenance

Welcome to the Master The NEC Podcast, where we go beyond code to talk business, professionalism, and mindset for electricians who want to master more than just conductors.I'm Paul Abernathy, The Electrical Guru, and today we're talking about something that stops more electricians from succeeding than competition ever could — pricing fear.You've heard it before: ‘They're cheaper than you!' … or ‘I can get my brother-in-law to do it for half.'But the real problem isn't your price — it's your confidence.Today, I'm going to show you how to charge what you're worth, how to sell your value instead of defending your rate, and how to walk into every quote knowing you're the professional — not the discount store.Become a supporter of this podcast: https://www.spreaker.com/podcast/master-the-nec-podcast--1083733/support.Struggling with the National Electrical Code? Discover the real difference at Electrical Code Academy, Inc.—where you'll learn from the nation's most down-to-earth NEC expert who genuinely cares about your success. No fluff. No gimmicks. Just the best NEC training you'll actually remember.Visit https://FastTraxSystem.com to learn more.

Knowing when (and how) to hit the bandeja or vibora can be the difference between holding the net or losing the point. In this episode, Tom and Sandy break down the key differences between the two shots, when to use each one, and how to adapt your overheads to conditions, opponents, and your own level.They also discuss why the bandeja is still essential in the modern game, how the vibora evolves from an attacking weapon to a tactical tool, and the best ways to practice both so you can build confidence and consistency on court.EXPLORE OUR OFFERS: The Padel School Membership (with FREE Trial)Access 75+ Drills for Every Level: TPS Drill Book For Players Our BOOK - The Padel Player's Guide Win Matches with a Stronger Mindset: Get our Mental Toughness Course  FREE Equipment Guide: https://improve.thepadelschool.com/equipment-guide FREE Padel Assessment for YOUR game: https://improve.thepadelschool.com/padel-assessment  YouTube –    / thepadelschool Instagram -   / thepadelschool  Facebook:   / thepadelschool  Want to join us on court? https://thepadelschool.com/events Read our blogs: https://thepadelschool.com/blog/ 

In this episode, John Q. Khosravi, Esq. sits down with Ruby Powers, Esq., founder of Powers Law Group, to talk about leadership, technology, and scaling a law firm in today's immigration landscape. Ruby shares her experiences with AI adoption, remote teams, and strategic growth, offering practical advice for immigration lawyers building efficient, future-ready practices.

Back in 2011, I gave a lecture called “The Coming Storm for Dentistry.” I warned that insurance companies would choke reimbursements while corporate dentistry scaled up and swallowed private practices.Fourteen years later… well, here we are.In this week's Practice Autonomy Podcast, we open that time capsule and compare those predictions to the real 2025 data — and it's chillingly accurate:

SALE: All 9 TTM PDF Products site wide are 30% off till 4 November.Use the code FALL2025 at checkout for the discount.*note that program prices will increase immediately following the sale.We switched it up today with an overrated/underrated episode2000s rap and hip hopCrossFitNorwegian 4×4 / VO₂max-focused workouts for selection prepUsing a fan while you sleepSwim sessions (in a military/selection context)TRT (testosterone replacement therapy)Inverted rows and TRX face pullsIntermittent fastingSauna for heat acclimation (heat training)Switch grip (over–under) on deadliftsCreatineBarbell strict press (overhead press)Tib raises for run/ruck performance and durability---Questions? Look for bi-weekly Q&A on my stories. I'll answer your questions on IG and here on the podcast.---Spoken Supplements: Code terminator_trainingCwench supplements: Code terminator_training---New Selection Prep Program: Ruck | Run | Lift Ebook: SOF Selection Recovery & Nutrition Guide---TrainHeroic Team Subscription: T-850 Rebuilt (try a week for free!)---PDF programs2 & 5 Mile Run Program - run improvement program w/ strength workKickstart- beginner/garage gym friendlyTime Crunch- Workouts for those short on timeHypertrophy- intermediate/advancedJacked Gazelle- Hybrid athleteJacked Gazelle 2.0 - Hybrid athleteSFAS Prep- Special forces train-upRuck | Run | Lift - Selection Prep---Let's connect:Newsletter Sign UpIG: terminator_trainingYoutube: Terminator Training Methodwebsite: terminatortraining.comSubstack

In this episode of Working Class Audio, Matt welcomes Grammy Winning producer/engineer/mixer Gena Johnson who has worked with Chris Stapleton, Jason Isbell, Brandi Carlile, and John Prine. In This Episode, We Discuss:Leave your ego at the doorMake people feel comfortableListen to the artistLabels are business partnersWord of mouth workFeminine energy in productionWomen in the industryClassical voice training for 12 yearsInternship at Welcome 1979Learned tape machines and solderingAssisting at Nashville studiosFirst number one recordWorking at RCA Studio ARewiring Studio A intensivelyMentor Michael Wagner's influenceChampions Vance Powell and Daryl ThorpWalls painted with glitterKeep overhead lowGood attorney and manager combinationLinks and Show Notes:Gena's WebsiteGena on InstagramVance Powell on WCAMatt Ross-Spang on WCADarrel Thorpe on WCAMatt's Rant: Sonic Intrusion RevisitedCredits:Guest: Gena JohnsonHost/Engineer/Producer: Matt BoudreauWCA Theme Music: Cliff TruesdellThe Voice: Chuck Smith

Alan shares his recent findings on dental supply purchasing, questioning the long-standing industry model where dentists pay a premium for the convenience and supposed "best price" offered by a dedicated sales rep. He argues that this relationship-based purchasing lacks transparency and costs practices significant money, especially as overhead increases and reimbursements remain flat. Alan endorses his sponsor, Net 32, as a modern solution, highlighting its efficiency and transparency as an online network of suppliers that instantly offers the lowest available price. Through personal invoice comparisons, he demonstrates that switching to this system results in substantial, immediate savings on common materials, making it a powerful way for dentists to reduce overhead without sacrificing quality or convenience. Some links from the show: Very Dental Podcast net32 link Join the Very Dental Facebook group using the password "Timmerman," Hornbrook," "Gary," "McWethy," "Papa Randy" or "Lipscomb!" The Very Dental Podcast network is and will remain free to download. If you'd like to support the shows you love at Very Dental then show a little love to the people that support us! -- Crazy Dental has everything you need from cotton rolls to equipment and everything in between and the best prices you'll find anywhere! If you head over to verydentalpodcast.com/crazy and use coupon code "VERYDENTAL10" you'll get another 10% off your order! Go save yourself some money and support the show all at the same time! -- The Wonderist Agency is basically a one stop shop for marketing your practice and your brand. From logo redesign to a full service marketing plan, the folks at Wonderist have you covered! Go check them out at verydentalpodcast.com/wonderist! -- Enova Illumination makes the very best in loupes and headlights, including their new ergonomic angled prism loupes! They also distribute loupe mounted cameras and even the amazing line of Zumax microscopes! If you want to help out the podcast while upping your magnification and headlight game, you need to head over to verydentalpodcast.com/enova to see their whole line of products! -- CAD-Ray offers the best service on a wide variety of digital scanners, printers, mills and even their very own browser based design software, Clinux! CAD-Ray has been a huge supporter of the Very Dental Podcast Network and I can tell you that you'll get no better service on everything digital dentistry than the folks from CAD-Ray. Go check them out at verydentalpodcast.com/CADRay!

THIS EPISODE: Indigenous-led Housing What does Indigenous housing look like? Are there special forms of housing needed by Indigenous communities in particular to address specific health and community needs? And what kind of housing can be built when Indigenous people in charge of the plans? In this episode, we try to address each of these questions. First we speak to Maggie Low, assistant professor at the School of Regional Planning at the University of British Columbia. She's been studying how municipal governments respond to Indigenous housing needs. Next, we speak to Alexandra Flynn, associate professor at the Peter A. Allard School of Law, UBC, about Indigenous zoning and housing developments in Metro Vancouver. Finally, we speak with Bailey Waukey, a youth policy analyst with the Aboriginal Housing Management Association, about the different housing models Indigenous youth have asked for themselves through a special engagement process. What does housing by Indigenous people, for Indigenous people look like in an increasingly urbanized world?

Part 2 of the Kinetic Chain is the shoulder elbow and wrist in the acceleration phase of pitching and the deceleration phase (where the injuries are more common)     Online Courses: https://richardhazel.podia.com    

In this episode of the Grow Clinton Podcast, Andy and Jenny are joined by Tanner Manon, owner and operator of Manon Overhead Doors in Fulton, Illinois.Manon Overhead Doors specializes in both residential and commercial overhead door sales, installation, and repair. Their team of qualified professionals is committed to providing high-quality garage doors and service at affordable prices. Manon offers all models of top-quality Clopay® doors, as well as LiftMaster® electric operators.Manon Overhead Doors serves counties in Illinois such as Whiteside, Carroll, Rock Island, Ogle, and Jo Daviess. They also serve counties in Iowa, including Clinton, Scott, Jackson, and Dubuque. Additionally, they cover southern counties in Wisconsin, such as Grant and Lafayette.Manon Overhead Doors LLC is a full-service garage door company serving both residential and commercial clients in and around Fenton, Illinois. For years, they have used their expertise and exceptional customer service to resolve every garage door issue quickly and efficiently.For more information or to schedule your repair, call (309) 428-8709 or visit www.manonoverheaddoors.com.Promote Your Business or Event: Contact Grow Clinton at (563) 242-5702 or visit www.GrowClinton.com.We Value Your Feedback: Please share your thoughts in our listener survey: Take the survey at https://www.growclinton.com/survey.Grow Clinton proudly supports economic growth, fosters community, and promotes the sustainable success of businesses in the Greater Clinton Region.Thank you for listening and for your ongoing support! ~AndyHave an idea for a podcast guest? Send us a message!

Cabin Cousins: Part 5 The Gales of November. Based on a post by NewMountain80, in 6 parts. Listen to the Podcast at Connections. "Hmm" Melissa said, her face still buried in the pillow. She shifted and turned her head, and I moved to her side with one arm and a leg still draped over so we could look into each other's eyes. "Wow. That was..." She sighed. "...Wonderful." I smiled and kissed her cheek. "I'm glad you enjoyed it as much as I did." She squinted at me. "Are you sure I'm not dreaming, and you're just a figment of my imagination?" She said playfully, though I could tell there was something serious behind the question. "I'm real, and I'm right here, in your bed, and I love you." She searched my eyes for a moment, rolled onto her side, and pulled me in close, kissing me deeply. When we stopped kissing to catch our breath, she whispered. "It's our bed, and I love you too." We held each other in silence for a long while. I knew that she had something else to say, but I didn't push her. Eventually, she broke the silence. "Do you want pancakes? I want pancakes." Not exactly the soul-baring statement I was expecting, but now that she had said it, by damn I wanted pancakes. "I'll help." I had made pancakes exactly once before, and it wasn't a complete disaster, so I felt that my inclusion in the process wouldn't be too much of a hindrance. She got a distant look in her eye, then rolled onto her back, and covered her face with her hands with a groan. "I don't have any pancake mix." She peeked at me through her fingers and we both started laughing. I'm not sure why but we both found it hilarious but we roared with laughter. I playfully pushed her towards the side of the bed. "Well, get dressed. I'll take you out for breakfast." Still laughing, she got up and opened a dresser drawer. Stepping into a pair of light blue panties, she asked. "Are you getting dressed too, or are you going to go like that?" "I'm thinking about it." I quipped, eyes following her every movement. I loved watching her move. She had a litheness and grace to her. Cat-like? No, that's not quite right. Amazonian? Maybe, but that implies a stature and bulk that Melissa didn't have. She was fit, not body builder muscular, and she wasn't particularly tall, just shy of my own five foot ten. She was perfect, and my eyes couldn't get enough of her. Let's leave it at that. "You'll give the old ladies at Perkins quite a shock." She shot back, still laughing. With an exaggerated sigh, I rolled off the bed. "For the sake of the old ladies, fine, I'll get dressed." Chapter Sixteen. The plate clinked as Melissa set down her fork. "Ugh. I ate too much, but that really hit the spot." She had attacked her "tremendous twelve" meal with murderous intent. All that remained was a scrap of crust from a piece of toast, and some maple syrup residue on an otherwise clean plate. She had even swiped a strip of bacon off of my plate, an act that left fork marks on my brother's hands on several occasions. I looked at my plate, with its pile of hash browns and a third of a stack of pancakes remaining, and set down my fork. "I guess I didn't work up as much of an appetite as you, cause I'm stuffed too." Melissa looked at me with her special smile and mischievous eyes. "Well, you'll have to try harder next time." "I need to work out more." "I can help with that." She replied, and we both giggled, knowing the truth of it. "Let's start with a walk." We left the Perkins restaurant, and with Melissa navigating, we drove north out of Duluth on Hwy 61. We pulled off and parked where a little river crossed under the road and spilled through a steep set of rocky rapids to Lake Superior below. We hiked down a little trail, and she led me out onto one of the big rocks. The scenery was spectacular, and the water rushing past the rocks had a hypnotic quality. It hadn't snowed last night, but the wind was blowing hard off the lake, and the constant mist from the rapids gave the crisp early November air some real bite. We sat for a while without speaking. Just two people holding hands, taking in the scenery and the roar of the water. There was a Gordon Lightfoot song that had something about the gales of November, how did it go? "When I left home," Melissa began, just loud enough to hear. I turned and watched her, careful to hear what she was saying over the noise of the rapids. I had been hoping for, and dreading this moment, when she decided to get the details of her past out in the open. I resolved to not interrupt and to let her tell it at her own pace. "This was the first place I went." She continued. "I didn't know where to go. I didn't have anywhere to go." She sniffed. We were alone but had someone been watching, her running nose and the tears on her cheek might have been assumed to have been caused by the cold, but I knew differently. I could see the deep down hurt that was welling up, and my heart ached. I squeezed her hand, and let her talk. "Every night for two weeks, I'd leave school, then go up the hill to the mall and sit in the food court to do my homework. When the mall closed, I came here, and parked for the night right over there." She pointed up to the little parking lot where my truck was. "I'd wake up, scrape the snow and frost off the windows, and go to school. I didn't tell anyone because then I'd have to explain why I was sleeping in a car in February. I had friends, but not close friends, you know? Like, not the kind of friends that I could talk to about..." She trailed off and wiped her nose on her jacket sleeve. "I had been lucky, it hadn't been as cold as it should have been, but then one night it got very cold. When I left the mall, I knew if I spent the night here again, I could be in serious danger. So I went to the laundromat. There was never anyone in there in the middle of the night, so I sat at one of the tables and fell asleep. The owner woke me up a couple of hours later, yelling at me that I couldn't sleep there, so I got in my car and came back here." She had been looking at the water as she spoke, but now turned and looked at me. I saw the fear and shame these memories invoked. I wanted to say something, anything to comfort her, but I knew that I should let her say what she needed to say, so I let her continue. "When I went to sleep on the back seat, I didn't think I was going to ever wake up, and I was okay with that. I didn't care that I was going to die. Nobody cared, nobody would miss me. The world would be better off without one more stupid girl. Why bother going on?" She looked away from me, east towards the vast lake, and her face twisted up in anger. "You know, the worst thing, the worst part of all of it, is they made me feel like it was all my fault. They had me so twisted up, that I believed that I was the cause of everything that happened." She turned back to me, the anger fading, leaving just a profound sadness. I wiped the tears from her cheek, and she leaned her shoulder against me. "Did your parents tell you what happened?" My throat was dry, and I swallowed hard before replying. "They were vague." She gave a little smile that was like a sunbeam on a stormy day. "I asked your mom and dad not to tell anyone. You're so lucky to have them." She looked back to the lake and spoke quietly enough that if her face had not been right next to mine, I wouldn't have been able to hear her. "When I was fifteen, when I started looking more like a woman, and less like a little girl, my dad started abusing me. Mom, she was drunk more than she was sober. She knew, she had to know, and she didn't do anything." As the River roared in its ceaseless path to Lake Superior, and the cold wind whistled and rattled through the leafless trees, Melissa spoke of abuse and divorce, lost jobs and social status, the failing of the system to help a girl who was too scared to ask for help and the blame that was assigned for all of it. "So that night, I remember when the state trooper knocked on my window." She gave a brief mirthless huff. "I thought he was an angel, with the way his flashlight lit up the frost on the inside of the window. I thought I was dead, that it was all over. I felt relieved." She shook her head. "The next thing I remember was being in a hospital bed, wrapped in electric blankets, and seeing the sunrise through the window. That trooper was there. He had stayed with me, way past the end of his shift, just to make sure I was alright. Turns out, when they went to my parent's house to see what was going on, my dad was out of town, and my mom ended up getting arrested for assaulting an officer and having a bunch of heroin. That's why she went back to him. Not for me, but for the money to buy her drugs. The trooper persuaded me to reach out to my friends. He said that people can be capable of unexpected acts of kindness, and I decided to believe him. So I called Ashley. We had always gotten along pretty well, and her parents were always super nice to me. They let me stay with them, which was really awkward at first. I just couldn't believe that a family could be so, so perfect. It was like stepping into an old sitcom. Maybe there was a little trouble now and then, but everyone loved each other, and it all worked out in the end. It was surreal, but eventually, I started believing that it was how families should be. That it was right and good, and normal." She looked me in the eyes then, and I saw her love burning through the hurt. "I didn't think that I would ever have that. I thought that there was no way I could ever open up and let someone love me, to be me, to be normal. Who could want me? Then your parents invited me back to the cabin, and I grasped onto a foolish hope that maybe you could. Ever since it's just been, It just doesn't seem real. Charles, I know you love me, but I'm still so afraid." I silenced her with a quick kiss on the lips. I held her cold, rosy cheeks in my hands and looked her in the eyes. "None of what happened was your fault. You deserve to be happy. You deserve to be loved. I love you, I will always love you. Nothing in the past, present, or future will stop me from loving you until the end of time, and when we're both gone from this world, I'll find you in the next and keep loving you!" Fresh tears streamed down her face, not tears of remembered pain, but tears of joyful love. She threw her arms around me and we held each other tight. Overhead, a hawk called, adding its little part to the scene of wind, water, and young lovers. Chapter Seventeen. Getting in my truck and leaving Duluth that evening was the hardest thing I had ever done. The only thing that gave me the strength to leave was the knowledge that it was only temporary. Soon, very soon, I would never have to leave her again. When I got home, Mom was at the kitchen table reading a newspaper. She greeted me with a smile. I had to be very careful with how I was going to handle this conversation. I didn't want to lie to my mom, but I also didn't want to tell her the whole truth. "How was your weekend? I didn't get a call from the cops, so it couldn't have been too exciting." "I was the cop! We went to a Halloween party dressed as the Village People." "Fun!" Mom exclaimed, giving me a beaming smile. "Yeah, and something else happened. Do you know how I can get my employee discount at any store? Well, we stopped at one of the stores in Duluth, and I ended up talking with the yard manager. They've been having trouble finding someone competent to drive a forklift, and if I transferred up there, they'd give me a raise and make me an assistant manager. He said I could start working up there in two weeks." All of these individual facts were technically true, but it still felt like lying. "Good for you! It's great to have in-demand skills. That's a long way to drive though." "Yeah, it would be like, five hours of driving every day." "Did you look into getting an apartment up there?" Mom folded up the newspaper and gave me her undivided attention. "After the school year starts, there's literally nothing cheap available." "Where would you stay then?" She asked, looking concerned. "Well, on the way home, I was thinking about who I know that lives up there. Rob lives in a dorm, so I couldn't get away with staying there long-term. But then I remembered that Melissa lives in Duluth, I could maybe call her and see if she wants a roommate." Okay, this last bit was a lie. I didn't feel good about it, but it had to be done. "Our Melissa? Have you called her yet?" "Not yet. I'm pretty sure I have her number in my phone." "You should figure this out sooner rather than later." She looked at the clock. "It's not too late, give her a call now." I made a show of finding Melissa's number as if I hadn't memorized it weeks ago. Melissa and I had rehearsed this moment. I had the volume on my phone turned way up, so my mom was sure to hear Melissa's side of the conversation too. "Hello?" Melissa's angelic voice asked after three rings. "Hi Melissa, it's Charles." "Charles! It's good to hear from you! What's up?" "Well, I'm going to be transferring up there for work, and I was wondering if you would mind having me as a roommate until I found a place of my own." Another necessary lie. "Yeah, I guess that would be okay. You're not going to find anywhere else to stay until the end of the school year. Even then, I was lucky to get this place, this spring." "So, you're okay with me staying with you?" "Yeah, it'll be fun. Like staying at the cabin, but I don't think my landlord would approve of campfires." "I'll pay half the rent, and utilities, and everything." "Naturally," Melissa said. "I was going to ask one of my friends if they wanted to move in. Only paying half the rent will make saving for school a lot easier." "Cool. So, I guess I'll give you a call tomorrow, and we can figure out the details?" "Yeah, okay." "I'm talking with my mom right now, so I should probably let you go." "Hi Mom!" Melissa yelled. "Hi, Melissa," Mom replied, loud enough to be sure that the phone picked it up. "Talk to you tomorrow, bye!" Melissa said, much quieter this time. "Bye." I had to be very careful not to reflexively say I love you. I put my phone away and noticed that my mom was studying me with a funny little smile on her face. Then in the most casual tone, she asked. "So, does she love you as much as you love her?" My heart nearly stopped. I couldn't respond. "That was a lovely charade. Unnecessary, but lovely." I couldn't speak. My brain frantically searched for words but found only shocked silence. "Oh, honey." She began, in a soothing motherly voice. "You're my baby. Did you think I wouldn't know? It was plain to see at the cabin that you two are in love. You spent the weekend with her?" I forced myself to reply. "Yes," I said, fearing that it was all over. I felt like crying. "Good," Mom said simply. I couldn't believe what I was hearing. Mom knew about me and Melissa, and she was... Happy for me? "So, you're not mad about us?" "Oh, Charles. Love is so precious. It doesn't matter where you find it, but when you do, you hold on with both hands and never let go." My tears came then, flowing hard as I released all my pent-up fears and anxiety. Mom held me as I cried on her shoulder. She gently rubbed my back like she used to do when I was a kid. When my crying subsided, she held my shoulders at arm's length. "Now, tell me about her." I did. In the conversation that followed, I was more honest and open about my feelings than I could remember being to anyone other than Melissa. I explained how we knew what each other was thinking or feeling, just by looking into each other's eyes. I told her how I wanted to improve myself, to be a better person for Melissa. And, looking back on it with a touch of horror, I did my best to explain the connection I felt with Melissa when we made love. Throughout it all, my mother was nothing but caring and understanding. After all the fear of this moment, it was surreal. It felt so good, so liberating to tell her how I felt about Melissa. When I was done, I asked Mom. "Does Dad know?" "Oh, I doubt he picked up on it." "Are you going to tell him?" Of all the people in the family, I was sure that Dad would be the least likely to accept. He had always been very traditional. Kind and gentle, but with a very strict moral compass. "Of course. He's my husband. The way you feel about Melissa, I feel about him." She hugged me again. "Don't be ashamed. Love her with all your heart, and everything else will work itself out." She kissed me on the cheek and told me that she loved me. I told her that I loved her too, and said goodnight. I went to my bedroom, shut the door, and called Melissa. "What's up?" She answered. "I didn't think I'd hear from you until tomorrow." Deciding to just be direct about it, I said. "My mother has officially given us her blessing." The line was silent as Melissa processed this. When she spoke, I could tell that she was crying. "How did she find out?" She asked. I recounted the whole conversation. "See? I told you your mom was the best." "She really is." "So, what now?" She asked, with a bit of anxiety. "She said that she had to tell everyone because it's better to have it out in the open than have to keep lying to the family. I agreed." After a short pause, Melissa said. "Me too." As it turns out, my family's reaction was both better than I had feared and worse than I had hoped. My parents had called a family meeting and all of my immediate family, and their spouses, showed up. There were those like my mom, and my brother Mark, who were supportive and genuinely happy for me. On the other end of things, there were people like my second older brother, Stephen, and his wife, who were disgusted and called me a pervert. Most were somewhere in the middle, either not understanding and being polite about it, or just ambivalent to the whole issue. Then there was my dad. He just sat there the whole time, with a frown on his face, and never spoke a word. I couldn't tell if he was ashamed, or angry, or what, and it tore me up inside. He had never in his life been shy about voicing his opinion. After my mom, he was who I needed acceptance from the most. I desperately wanted him to say something, anything, but he never did. His silence cut deeper than any insult or accusation ever could. At the beginning, and with prompting from my mom, I had stood before everyone, confessing Melissa's and my love for each other, and that I was moving out to live with her in Duluth. After the initial shock and spectrum of reactions, I sat down and answered questions. Now, not being able to bear my father's silence any longer, I stood again, interrupting several side conversations. I addressed the whole group, but my words were meant for my father more than anyone. "Melissa and I truly love each other. Nothing you do or say can change it. Accept it, accept us, or don't. I don't care." Dad didn't react, didn't even look me in the eyes. I rushed to my room and locked the door. I curled up on my bed and cried, harder than I could remember ever crying before. The stress of the family meeting and my dad's non-reaction had utterly destroyed me. I held a pillow over my head to muffle the sounds of my uncontrollable sobs, and to hide my face from the world. "What if they're right about you?" A part of my mind asked. "What if you're just a sicko. That's what they all think." "No! I really do love her!" Another part of my mind answered. "What kind of weirdo falls in love with his cousin? What kind of deviant fucks someone in his own family?" "No! Our love is pure and perfect!" "Yeah, perfect. The perfect fantasy of a clinically twisted pervert! You're just taking advantage of a poor broken girl." "No..." I moaned aloud, holding my head in my hands. Sometime after, someone knocked lightly on my bedroom door. I ignored it, lost as I was in terrible contradictory thoughts. The knock came again, and I heard my mom's voice. "Charles, honey. Can I come in?" I didn't respond, knowing that right then I couldn't bear to face anyone, even my mother. "Oh, my baby." She said through the door. "All I want is for you to be happy. Follow your heart, everything will work out. I love you." Her words quieted the thoughts whirling through my mind, and though my sobs faded, the tears continued to flow. I was exhausted, physically and emotionally. I closed my eyes and imagined Melissa lying next to me. I thought about how if she were here, she would comfort me, and wipe the tears from my face. I could see her so clearly in my mind, see how her icy blue eyes would pour her inexhaustible love into me. Soon, my tears stopped flowing, and I regained a sense of peace. I felt awful for doubting myself, for doubting Melissa, if even for a moment. Our love is right. It is pure and perfect. She made me complete, as I made her complete. I drifted off to sleep, with a smile on my face, thinking about Melissa, and dreaming about the future. Chapter Eighteen. Charles copes with changes, but the biggest is yet to happen. The armrests of the padded chair where I was seated were a little too high to be comfortable, so I kept my hands folded in my lap. I gazed at the paintings of calm rural scenes hung on the walls of the spacious office. I wondered absently if they were real places or just the artist's impression of idyllic country life. I glanced at the woman in the matching chair positioned across from me. She was patiently waiting for me to continue my story, with an encouraging expression on her face. "I moved my things into Melissa's apartment a few days later and spent the night with her a couple of times when I had the day off. After the two weeks were up, I started work at the Duluth store and lived with her from then on. I think the only word to describe the years that followed is heavenly. I wouldn't have changed a single thing." "Tell me more about how your family reacted," said the woman, Dr. Clarke. "Did your father and brother ever come around?" "Dad? Yeah, he just needed a little time to process it. After that, he was as good with it as Mom was. The thing with him was, years before, before anyone knew what had been going on with Melissa's dad, he'd known that something was wrong. I'm not sure how, but he knew. After Melissa left home, he would call and check in on her. He paid to have her car fixed and even paid the deposit on her apartment. He always went out of his way to make her feel like she had people that cared. I think he loved her as if she were his own daughter, so the whole thing with the two of us was kind of a shock. When Melissa and I went to my parent's place for Thanksgiving, later that month; and he saw firsthand how happy she was, it wasn't an issue." "And your brother, Stephen?" Dr. Clarke prompted. "That same Thanksgiving, I ended up knocking him down with a punch to the face. He said that Melissa's family were all degenerates and that Melissa was just bringing that degeneracy to our family now. That was the last time I ever saw him." I forced my clenched fists to relax and laid my palms flat on my thighs. "Have you ever thought about reaching out to him? People can change a lot in twenty-four years." "No," I said firmly. "It was his choice to ostracize himself from our family, and I want nothing to do with someone capable of being so deliberately malicious. He knew that she was just beginning to heal the trauma that had been done to her; and had said what he did, specifically to hurt her. Someone capable of doing that will always be capable of doing it." "You might be surprised by how much people can change," She said, as she scribbled a few lines in her notepad. "Maybe," I said, brows furrowing. Those words had made their way into Melissa's nightmares. My fists clenched again, as I remembered all the times I was awoken in the middle of the night by her sobs. I remembered how helpless I felt, being able to do nothing but console her; and hold her until she fell back asleep. My knuckles were white, and my fists trembled slightly. I saw Dr. Clarke glance down at my hands, but she did not indicate what she was thinking. Therapists must make superb poker players. "Some things just can't be forgiven," I said quietly, forcing my hands to relax. "Again, you might be surprised. We can talk more about that next week." She set aside her notepad and glanced up at the clock on the wall behind me. "Now close your eyes, and concentrate on your breathing. Take a slow deep breath, imagining all your negative emotions as a tangible thing. Now breathe out slowly as all those emotions evaporate and exit your body like smoke. Again, deep inhale, and out. Good. Feel your mind become still as your breath carries away the pain. Once more, in, and out. Good." For some reason, this technique worked for me. If left alone, my thoughts naturally gravitated to the bad memories, and each one brought two more with it until I became overwhelmed. I would become mentally gridlocked to the point of not being able to function in everyday life. "When I say the word joy, what is the first thing that pops into your mind?" My eyes were still closed, and I smiled. "Melissa's face when she first saw me that October weekend reunion, at the cabin." "Good. Keep up your breathing exercise. All the pain is gone, only the joy remains. Describe the scene for me. What else do you see? What do you smell and hear?" A single tear rolled down my cheek. I'm not sure why I started to cry, whether it was joy in the image of her, so happy and full of promise for the future, or sorrow because that future is gone. I would never again see her smile. "Sunbeams cut down through the trees, lighting up smoke drifting from the fire pit. She passes through one, and her hair glows like golden fire. I smell the white pines, strong in the soft breeze, and the smell of burning oak. A loon call echoes up from the lake, and all around the cabin yard, there is the quiet burble of conversations and laughter." I wiped the tears from my face with a flannel shirt sleeve and looked away from Dr. Clarke. I still felt embarrassed to cry in front of another person. "That sounds lovely. Hold on to that moment, use it as a refuge." She glanced at the clock again and stood. I stood as well, taking a tissue from the box on the coffee table to dry my eyes. She walked me to her office door. "Thank you for sharing today, Charles. I think you are doing very well." As she opened the door, she asked. "Have you gone to the aromatherapy shop we talked about last week?" "No," I said dejectedly. "I was going to, but..." I had meant to go, but sometimes certain things were just impossible to make myself do. Going into an unfamiliar place and talking to a stranger was one of those things. Sometimes I could, sometimes I couldn't. This hadn't been a particularly good week, and the thought of talking to someone new, someone who would ask questions about why I was there, questions that would bring up painful memories, was simply unthinkable. Yesterday, I had made it all the way to my car and had the key in the ignition, but then I just sat there, unable to make myself go through with it. "That's ok." Said Dr. Clarke. I knew she knew why I didn't go, and I had gotten to the point where I felt safe sharing my feelings with her, but I couldn't help but feel a sense of shame. "Addy is very good at what she does, and she has helped many of my clients. She's a friend." I nodded and started moving through the doorway. Ending conversations always seemed so awkward. I never knew what to say. "Thank you for being so open today, Charles. See you again next week." She was looking at my eyes, and I met her gaze briefly before looking away. In recent years, I had become very uncomfortable making anything more than the briefest of eye contact with people, especially women, so I was usually at a huge disadvantage when it came to reading people's motivations and emotions. In that brief glimpse though, I caught the impression of empathy and a real desire to help. It felt really good to know that someone cared. I gave her a genuine smile and left. I left her office with the intention of going directly to the shop she had recommended, but by the time I was in my car, I just... couldn't. This is what my life had become. I could go from being on the verge of drowning in a sea of sorrow to feeling positive and optimistic in an instant, then back just as fast. But mostly, it was what I called 'the gray'. I am self-aware enough to understand how it began. Instead of dealing with certain traumatic events, my brain decided that it was easier and far less painful, just to push them aside. The problem is, that those things don't just go away. No matter how hard you push them down, they keep bubbling back up, and you end up pushing everything away in the effort. Then one day you realize that living in the gray was the only way to survive because every little bit of emotion, good or bad, could open the gates and let all the pain come rushing in. I had pushed everything and everyone aside for the sake of self-preservation, and it was killing me. I knew I needed help. I knew that the person I was, wasn't really me. The problem was, I had been in the gray so long, that I couldn't remember how it was before, not really. I knew that I had been happy once, that I had hopes and dreams. But that was all gone, lost in the gray. Chapter Nineteen. The next day turned out to be one of the good ones. I was able to get myself out of bed, dressed, and in the car. I decided that I would finally make it to this aromatherapy shop Dr. Clarke wanted me to go to. I turned the key in the ignition, and my geriatric Honda Civic purred to life. I quickly released the emergency brake and shifted into reverse. I backed out of my parking spot with a sigh. There, I did it. The hard part was over, and now that I had started the task, it would be easier to go through with it. Don't ask me why that makes sense, I wouldn't know how to even start explaining. I enjoyed my drive across town. It was a beautiful day in Duluth. Down near Lake Superior, it was a little breezy and a comfortable 65 degrees, perfect for driving with the windows down. Climbing the hill on 194, the farther I got away from the lake, the hotter it got. By the time I got to the shop, it was nearly 80 degrees, and I had begun to sweat. A typical July day in the Twin Ports. I've always said, that this was one of the things I loved most about living in Duluth. It could be hot as hell up on top of the hill, but if the wind was right, it was always cool near the lake. I shut the car off and set the E brake. I wiped a bit of sweat off my brow, and it occurred to me that I was wearing the same clothes I wore yesterday and that I hadn't showered. Hit with a sudden wave of shame and embarrassment about meeting someone new in this state, I almost just left to go back home. With an effort of willpower, I opened the car door and stepped out. Task begun. I walked in and was greeted by a smiling older lady that I assumed was Addy. "Hi, um, Dr. Clarke sent me." Addy's smile widened. "Oh, come in, come in. I'm Addy." "I'm Charles," I replied, meeting her eyes for the briefest moment. "Pleased to meet you, Charles. How is Rose doing these days?" Dr. Clarke's first name was Virginia. She had grown up in Virginia, Minnesota, and I think she was still annoyed by her unimaginative parents, because she liked to use her middle name, Rose. I almost exclusively used 'Dr. Clarke' when speaking with or about her. "I've been seeing her for a couple of months now. She's nice." I never seemed to know how to answer questions like that. I grimaced inwardly at my awkwardness. "She's a sweetheart, and good at her job. I saw her for years." She led me over to a glass counter filled with hundreds of small labeled bottles. "So, are we looking for something to help you relax?" "Something to help me remember." I paused briefly, trying to find the right words. "Well, remembering isn't the issue." I felt a rush of awkwardness and a little bit of embarrassment in talking about something so personal with a stranger. My cheeks flushed, and I looked at the bottles in the case to ensure I didn't accidentally make eye contact. "I want to be able to focus on just the one thing." "Tell me about it." I closed my eyes and took a few deep breaths. "There's smoke from the campfire, mostly oak. Maybe a tiny bit of something acrid, like someone had thrown a plastic plate in the fire." As I spoke, I could hear Addy selecting a few bottles from a rack within the display case. "Pine trees. Even with the smoke, the pines smell strong." "Spruce?" Addy asked politely. "No, White Pine. The needles and sap are everywhere." "Anything else?" I took another deep breath but didn't reply. "Sometimes there's things around us that have a scent, but we're either too used to it, or its faint enough that we don't remember without smelling it. What else was there? Is this a campground?" Addy asked in what I recognized as being in a deliberately unobtrusive way. "It's a cabin," I replied, searching the mental image for things that may have a scent. "It's an old log cabin, surrounded by white pines. There's a log pile. My brother had been using the chainsaw earlier. My truck is parked in the driveway, it smells like gas because the tank leaks a little bit. Someone had mowed the little patch of grass in front of the cabin." "Is there anyone there, wearing perfume or aftershave?" I nodded my head in the affirmative. Addy gave me time to answer. "She..." I struggled to find words to describe Melissa's scent. How do you describe such a thing to someone? How do you describe a sunset to a blind person, or describe to a deaf person the emotions evoked by the Moonlight Sonata? She smelled like love, and I still smell her on the clothes I keep in her dresser. "You know how strawberry plants don't smell like strawberry? Not like the fake strawberry candy scent?" Of course, she did, but I went on. "A strawberry blossom. Delicate, faint, with just the promise of sweetness." "She was someone special," Addy said, in more of a statement than a question. "I ended up marrying her. She;" A tear rolled down my cheek. "Nine years ago;" I just couldn't force the words out of my mouth. I could tell Addy the exact date and time. I could tell her that we had just gone to see The Martian in the movie theater and that the night was clear and cool after the late August thunderstorm earlier that afternoon. I could tell her what song was playing on the radio. I could tell her the look on Melissa's face when the headlights crossed through the median in front of us. What I couldn't say, was physically unable to, was that nine years ago, Melissa died. "It's okay, dear," Addy said. She had a grandmotherly voice, full of kindness and understanding. For the briefest of moments, the power of that gentle voice made me believe that yes, everything would be okay. "Give me a few minutes, and I'll have something for you to try." I nodded and wandered away from the counter, absently browsing the candles and incense as I tried to compose myself. As I looked through the shop it occurred to me how posh the place seemed. High-dollar products are meant to be sold to people who have the luxury of ignoring price tags. I did not have that luxury. I felt anxiety and a general shame of the complete fuck up I had become. If this costs more than about forty dollars, I wouldn't be able to afford groceries this week. "Charles, it's ready," Addy called from the other side of the store. I walked over and closed my eyes as she extended a small glass bottle filled with clear liquid. I breathed deeply and conjured the scene in my mind. The scent of Addy's mixture hit me like a lightning bolt. It was like reading a book in the dark, and then someone turned on the lights. Everything came into sharp focus like I was there. The smoke, the pines, and, My breath caught in my throat. Buried deep within the mix there was something light, something so tenuous you hardly knew it was there. It was Melissa. In my mind, she threw herself into my arms, and I could smell her. I could smell her. "How?" I asked, looking her in the eyes for the first time since my initial glance. Addy smiled warmly, and I could see genuine care in her face, not just the politeness of a shop owner to a customer. "If she had been wearing perfume, it would have been harder. We remember scents much better than we think we do. Sometimes all we need is a little hint, and it's brought right to the front." Dr. Clarke was right, Addy was good. "Your idea about the strawberry flowers was good. They're very faint and don't smell like much at all, definitely not strawberries. But when you know that you have strawberry flowers, and you smell them, your brain brings up the memory of strawberries. Scents are all connected in our minds, and are rooted deep down at the very foundation of memory." Addy put a rubber stopper in the bottle and carefully placed the bottle in a velvet pouch with her shop's logo on it. She held it out for me to take. A tear dripped off my jaw, and I quickly wiped my face on a sleeve. "How much?" I started to ask, again acutely aware of my wrinkled clothes, my general lack of personal hygiene, and the depressingly small balance of my bank account. Addy cut me off with a raised hand. "Rose is a friend of mine, and any friend of hers is also a friend of mine." She pushed the velvet bag into my hands. "No, I can't;" Addy stopped me again. "Most of my clients just want something that smells nice in their bathroom, or to cover the smell of weed. I'm perfectly happy to take their money." She placed her hands on mine, still clutching the velvet bag. "It's very rare that I get to help someone. Take it as a gift, with my thanks." I was speechless, and fresh tears rolled down my face. I couldn't remember the last time someone was so altruistically kind to me. "Thank you." Was all I could say. To be continued in part 6. Based on a post by NewMountain80, in 6 parts, for Literotica.

Peter Freeman is one of my favorite tennis coaches to speak with because he has so much experience coaching club doubles players. Like me, Peter creates a ton of online content, including one of the largest online tennis conferences, Tennis Con. I've presented at Tennis Con for the past 3 years and cannot recommend it enough for club players.

The phrase “overhead myth” still haunts the nonprofit world like a stubborn ghost. Host Julia C. Patrick sits down with Adam Holzberg, Partner and CPA at SAX Advisory Group, to teach viewers why judging nonprofits by their administrative expenses misses the point—and how education, transparency, and storytelling can replace outdated thinking with real understanding.Adam defines the myth plainly: “It's the idea that a nonprofit is less effective when it has higher overhead.” That assumption, he stresses, is simply untrue. The salaries, training, technology, IT support, and finance work that make up overhead are the very systems that keep programs running effectively. Yet donors and watchdogs still cling to the notion that only direct program spending matters. “In reality,” Adam says, “those programs can't even function without this infrastructure behind the scenes.”He traces the myth's roots to the early days of charity watchdogs comparing organizations through the functional expense schedule on Form 990 filings. Those comparisons turned rough accounting estimates into moral judgments, and the damage stuck. Many nonprofits still feel pressure to brag about low overhead ratios—even when it hurts them.Adam teaches that context matters. A government-funded nonprofit may appear more efficient because it spends little on fundraising, while a community charity that relies on individual donations will show a larger overhead percentage. There's no universal benchmark—though watchdogs like Charity Navigator often cite 70 percent program spending as a target. But he cautions against treating that as a rule: every mission, funding model, and cost structure differs.When asked how to fix the problem, Adam emphasizes education. Nonprofits must explain why investing in staff well-being, technology, and cybersecurity protects impact. His analogy brings it home: “If you build an offense with Patrick Mahomes and top receivers but neglect your offensive line, your team won't move the ball. Nonprofits are the same—without infrastructure, even the best programs fail.”Julia and Adam agree that shifting focus from expense ratios to impact data is the next frontier. Impact storytelling shows outcomes numbers can't: lives changed, communities strengthened, futures rebuilt. Leaders, boards, and funders must learn to read those stories alongside the spreadsheets.The conversation closes with hope—and a reminder that every conversation helps rewrite the narrative. By teaching donors, boards, and staff that strong infrastructure equals stronger mission delivery, nonprofits can finally end the burden of the overhead myth.#TheNonprofitShow #NonprofitFinance #OverheadMyth Find us Live daily on YouTube!Find us Live daily on LinkedIn!Find us Live daily on X: @Nonprofit_ShowOur national co-hosts and amazing guests discuss management, money and missions of nonprofits! 12:30pm ET 11:30am CT 10:30am MT 9:30am PTSend us your ideas for Show Guests or Topics: HelpDesk@AmericanNonprofitAcademy.comVisit us on the web:The Nonprofit Show

Have you ever wondered if golf courses actually make money — or if they're just expensive pieces of land? In this video, I answers a viewer's question about owning and selling a golf course, exploring how property value and business profit interact in the real world. From public and private courses to banquet operations and land development, you'll learn what really drives value in this unique industry. What you'll learn in this video: * Are golf courses profitable businesses or just land investments? * The difference between selling property and selling profit * How weather, seasonality, and debt affect golf course margins * Why private clubs and government courses skew the market * When land value exceeds business value — and what that means for owners * How to plan your exit or sale if you own a golf course -- Chapters 00:00 Intro 02:00 Viewer Question: Property vs. Profit 05:00 Understanding the Golf Course Business Model 07:30 Industry Size & Revenue Breakdown 10:00 Weather, Margins & Seasonality 12:40 Importance of Bars, Catering & Events 15:30 Story: The Failed Investor-Owned Golf Course 19:00 Public vs. Private vs. Government-Owned Courses 23:00 Why Some Golf Courses Lose Money 26:00 Property vs. Profit | What Are You Really Selling? 30:00 How to Value a Golf Course (EBITDA Multiples) 34:00 Real Case Study | Hidden Subsidies & Overhead 38:00 Golf Courses as Land Banks | Myth or Strategy? 42:00 Developer Example | When the Bank Owns the Course 46:00 Seasonality | North vs. South Economics 50:00 Key Takeaways for Golf Course Owners 54:00 Profit, Property & Exit Planning 58:00 Why Passion Can Mislead Golf Investors 01:02:00 Advice for Owners Near Retirement 01:06:00 How to Find Out What Your Golf Course Is Worth -- **** - Join David's email list so you never miss any new videos or important information or insights, RECEIVE 7 FREE GIFTS!!- https://www.DavidCBarnettList.com **** Do Business with David using these incredible internet links... - David's Blog where you can find hundreds of free videos and articles, https://www.DavidCBarnett.com - Book a call with David and let him help you with your project, https://www.CallDavidBarnett.com - Learn how to buy a successful and profitable business in a risk-controlled way https://www.BusinessBuyerAdvantage.com - Get help selling your business, https://www.HowToSellMyOwnBusiness.com - Get better organized in your business, https://www.EasySmallBizSystems.com - Learn to make better cash flow forecasts and write incredibly effective business plans from scratch!, https://www.BizPlanSchool.com - Learn to build an equity asset with insurance! visit https://www.NewBankingSolution.com -Did you sign up for an expensive Merchant Cash Advance for your business and now struggle to make the payments? Find out how you can negotiate your way out at https://www.EndMyMCA.com

Peter Greenberg, travel expert and host of Eye on Travel on WGN Radio, joins Wendy Snyder, filling in for Lisa Dent, to discuss how the government shutdown is affecting airports, and air traffic controllers. Then, as always, he answers travel questions from listeners.

Ever feel like your profits are shrinking even though you're busier than ever? In this episode, Jeff Blumberg takes a hard look at why overhead keeps climbing in dental practices and why it's gotten worse in recent years.    Survey of Dental Practice Spreadsheet - https://www.ada.org/resources/research/health-policy-institute/dental-practice-research  Free Fees & Plans Analysis - https://www.mgeonline.com/fees-and-plans  Inflation Calculator - https://www.bls.gov/data/inflation_calculator.htm 

Jen and Sarah dive into the opening scene in ‘The Conversation.' They discuss the intrigue it creates in the audience, the way the music and visuals are perfectly paired, and how this scene sets up the rest of the film. Click here to watch this scene. Remember to leave a rating and review of this episode. Connect with Movies & Us on Instagram, Threads, and Bluesky @moviesanduspod or by email at moviesanduspod@gmail.com. Check out andusmedia.co for the latest on Movies & Us and TV & Us. And subscribe to Movies & Us on YouTube for full video episodes and more. Join the & Us Living Room for early access to ad-free episodes, exclusive bonus content, and more, including a full review of ‘The Conversation'!

Casey Hiers and Jarrod Bridgeman are laying it all on the line this week as they reveal a common mistake many dentists make: trying to expand their practice before they've built a solid financial foundation.Drawing on relatable analogies from home construction and even relationships, they explain why things like cash flow, overhead, insurance, and personal finances need to be addressed first. Don't add an associate, buy that new piece of equipment, or open a second location until you've listened to this! They'll also share how their events can help you build the foundation you need to achieve sustainable growth.Interested in more info on how to: Earn More, Save More, and Retire EarlyUpcoming Tour Dates: Go to our EVENTS page for infoFacebook: Four Quadrants AdvisoryInstagram: @fourquadrantsadvisoryLinkedIn: Four Quadrants Advisory

Send us a text if you want to be on the Podcast & explain why!Follow Doc Chris IG: ChrishughenYoutube: https://www.youtube.com/c/E3RehabWebsite: https://e3rehab.com/NASM / ACE trainers are gonna want to listen to this podcast with Dr. Hughen from E3 Rehab debunking perfect posture, text neck, FMS and the overhead squat analysis.The fitness industry has long perpetuated myths about "perfect posture" and ideal movement patterns, creating fear and limiting beliefs that keep people from fully enjoying movement. In this eye-opening conversation with Dr. Chris Hughen of E3 Rehab, we dismantle these misconceptions and explore what the research actually tells us about human movement.Dr. Hughen shares compelling evidence that challenges common practices like text neck warnings and overhead squat assessments. Despite what many textbooks teach, research consistently shows that static posture doesn't predict pain or injury risk. Your forward head position while texting or "less than perfect" squat form isn't setting you up for inevitable pain—your body is far more resilient than that.We explore how elite athletes like Usain Bolt and Olympic weightlifter Dmitry Klokov excel despite having movement patterns that would fail standard assessments. This natural variation demonstrates that human bodies find unique, individual solutions to movement challenges rather than conforming to arbitrary standards.Most importantly, we discuss the psychological impact of movement correction on clients. When trainers constantly point out "flaws" and focus on "fixing" clients, they often create feelings of fragility and fear. Instead, Dr. Hughen advocates for an approach that builds confidence through exploration, guided discovery, and positive reinforcement.For trainers and fitness enthusiasts alike, this conversation offers a refreshing perspective that celebrates human resilience and adaptability. Rather than chasing perfect form, we should focus on consistency, progressive loading, and helpWant to ask us a question? Email email info@showupfitness.com with the subject line PODCAST QUESTION to get your question answered live on the show! Our Instagram: https://www.instagram.com/showupfitnessinternship/?hl=enTikTok: https://www.tiktok.com/@showupfitnessinternshipWebsite: https://www.showupfitness.com/Become a Personal Trainer Book (Amazon): https://www.amazon.com/How-Become-Personal-Trainer-Successful/dp/B08WS992F8Show Up Fitness Internship & CPT: https://online.showupfitness.com/pages/online-show-up?utm_term=show%20up%20fitnessNASM study guide: ...

Welcome to the Artificial Intelligence Podcast with Jonathan Green! In this episode, we delve into the art of cost reduction and its intersection with AI, featuring our special guest, Larry Levine, from P3 Cost Analysts. Larry has extensive experience in helping businesses reduce their indirect vendor overcharges, a crucial aspect often overlooked by many companies.Larry introduces us to the concept of indirect vendor costs, which include expenses for telecom, utilities, waste, insurance, and property tax—costs that are often seen as non-negotiable. With a unique industry insights approach, Larry demonstrates how many of these costs can be negotiated down, sometimes by up to 75%, offering substantial savings for businesses.Notable Quotes:"It's really about discovering the right way to lower costs effectively, knowing what to ask for, and having the industry knowledge to back it up." - [Larry Levine]"Every business, whether a startup or an established entity, should embrace the mindset that costs are negotiable." - [Larry Levine]"AI might be the frontier, but cost efficiency is the foundation every business should secure." - [Jonathan Green]Larry provides valuable insights into how businesses can maintain efficiency, especially in a tech-driven world where AI tools are rapidly embraced but not always cost-effective. He emphasizes the importance of having the right mindset when approaching vendors and the potential pitfalls of assuming costs are fixed.Connect with Larry Levine:Website: https://www.costanalysts.com/Phone: 410-205-2475Email: LLevine@costanalysts.comIf you're interested in learning how to optimize your business expenses while staying competitive with AI innovations, this episode is a must-listen! Tune in to discover how to streamline your costs and enhance your business operations.Connect with Jonathan Green The Bestseller: ChatGPT Profits Free Gift: The Master Prompt for ChatGPT Free Book on Amazon: Fire Your Boss Podcast Website: https://artificialintelligencepod.com/ Subscribe, Rate, and Review: https://artificialintelligencepod.com/itunes Video Episodes: https://www.youtube.com/@ArtificialIntelligencePodcast

As summer fades into fall, West Virginians have a short time left this season to view two distinct stars in the skies overhead. And, electric customers in this state may have paid millions of dollars in hidden and unnecessary fees. The post Bright Orange Stars Overhead And Hidden Costs For Power, This West Virginia Morning appeared first on West Virginia Public Broadcasting.

What if you could run a thriving PI firm with a skeleton crew—and still take on Fortune 500 giants? Gregg Goldfarb has spent three decades adapting to the ever-changing world of personal injury law. From police brutality cases in the Rodney King era to today's mass tort battles, Gregg has learned how to stay lean, minimize risk, and seize opportunities others miss. In this episode, Gregg breaks down how PI owners can thrive in high-stakes litigation without bloated teams or wasted ad budgets. You'll learn: Why case acquisition beats rolling the dice on $50,000 ad buys How diversification keeps your portfolio (and cash flow) safe The power of spotting emerging torts—before they explode Why outsourcing might be your biggest growth lever How to choose referral partners that actually deliver If you like what you hear, hit subscribe. We do this every week. VIP PIMCON Tickets:  Pimcon.org Get Social! Personal Injury Mastermind (PIM) is on Instagram | YouTube | TikTok

This Podcast Is Episode 644, And It's About Five Hidden Ways Contractors Lose Profits (And How To Stop It) Where did the money go? If you've ever looked at your bank account at the end of a busy month and thought, "I did all that work—so where did the money go?", you're not alone. This is one of the most common frustrations we hear from small business owners in the construction industry. You're booking jobs, staying busy, and delivering great work—but the profit doesn't seem to match the effort. As construction bookkeeping specialists, we've seen behind the numbers of dozens of small contractors. And time and again, we find the same hidden leaks draining their profits. The good news? Once you know what to look for, you can fix them—and finally start keeping more of what you earn. Here are five common ways contractors lose profits (without even realizing it)—and what you can do to stop the leaks. 1. Untracked Labor Hours: Working More Than You Billed Labor is often your most considerable cost. But for many small contractors, labor tracking is one of the weakest parts of their system. If you (or your crew) aren't logging actual hours worked on each job, you're likely underestimating how much time the project really took. That means you're effectively working for free on those "extra" hours. Real example: A contractor estimated a bathroom remodel at 40 hours of labor. The job actually took 55 hours. At $50/hour, that's $750 of lost profit—just from labor under-tracking. Multiply that across several jobs, and you can see how the profits evaporate. How to fix it: Use a simple time-tracking tool (like QuickBooks Time, or even a shared spreadsheet). Log hours daily—not at the end of the week when details are fuzzy. Compare estimated vs. actual hours after each job. This helps you improve future bids and spot inefficiencies. Bookkeeper's tip: If you track hours properly, I can show you job profitability in real time—and you'll see exactly which jobs (or crew members) are eating into your margin. 2. Unapproved Change Orders: Giving Away Work for Free Scope creep is the silent profit killer. A client asks, "Can you just add this?" and you say yes because it seems like a minor request. But those "little extras" add up quickly—and suddenly your margins are gone. Real example: A deck project initially included a standard railing. Midway through, the client asked for an upgraded design. The contractor agreed but never adjusted the invoice. The upgrade cost him $500 in materials and 10 extra labor hours—completely unpaid. How to fix it: Create a straightforward change order process. Stop work when clients request something new until the change is approved in writing. Even if it feels awkward, remember: change orders protect both you and the client by keeping expectations clear. Bookkeeper's tip: Keep a change order log for each job. We can help track approved vs. pending changes—so nothing slips through the cracks. 3. Material Waste and Overruns: Small Leaks, Big Losses Materials are another common leak. If you're not reconciling receipts against your estimates, you may be spending far more than you realize. It's not always theft or big mistakes—it's the little things: over-ordering, miscuts, lost supplies, or last-minute runs to the hardware store. Real example: A contractor estimated $5,000 in materials for a kitchen remodel. By the end, he had spent $5,800. That $800 didn't seem huge—but on a project with a $2,000 expected profit, it wiped out nearly half. How to fix it: Match every material receipt to the job. Track waste (e.g., lumber offcuts, unused drywall sheets). Build a small buffer into estimates (5–10%) to account for inevitable overruns. Do weekly check-ins: Are material costs still aligned with the budget? Bookkeeper's tip: If you send us your receipts consistently, we can flag when a job is trending over budget before it's too late. 4. Late Invoicing and Slow Collections: Cash Flow Gaps Many contractors do the work first and think about invoicing later. The problem is that late invoices result in late payments. And late payments can create cash flow crunches that force you to dip into savings, use credit, or delay your own bills. Worse, some clients "forget" to pay unless reminded. If you're not consistent about invoicing and follow-ups, you might never collect everything you've earned. Real example: A contractor finished a $10,000 basement project but didn't invoice until six weeks later. The client delayed payment for another four weeks. That's 10 weeks without income—while the contractor was already paying subs and suppliers. How to fix it: Invoice immediately at milestones—not weeks later. Use progress billing: collect deposits upfront, then bill at set phases. Set clear payment terms (Net 15, Net 30) in your contracts. Automate reminders using software like QuickBooks, Joist, or FreshBooks. Bookkeeper's tip: We can set up a system where invoices go out automatically and overdue payments are flagged—so you never have to chase clients down again. 5. Forgetting Overhead: Missing the True Cost of Running Your Business This is one of the biggest mistakes we see: contractors price jobs based only on direct costs (labor + materials) and forget to include overhead. Overhead is everything it takes to keep your business running, like: Truck payments and fuel Insurance and licenses Office supplies and software Marketing and advertising Your own salary! If you don't factor in overhead, you might think you made a profit—but really, you just broke even. Real example: A contractor charged $15,000 for a renovation. Materials and labor cost $11,000, so it looked like a $4,000 profit. However, once overhead was factored in (including fuel, insurance, phone, bookkeeping, etc.), the actual profit was closer to $1,200. How to fix it: Calculate your monthly overhead. Divide that into your billable hours or projects. Add it to every estimate. Bookkeeper's tip: We can calculate your overhead burden per job, so you'll know exactly how much to add to every quote to stay profitable. Recap: 5 Hidden Profit Leaks Untracked labor hours Unapproved change orders Material waste and overruns Late invoicing and slow collections Forgetting overhead Each of these may seem small, but together they can drain thousands of dollars from your business every year. The Bottom Line: You Don't Have to Keep Losing Money The difference between "busy and broke" and "busy and profitable" isn't more jobs—it's better control of your numbers. When you track your labor, materials, change orders, invoices, and overhead, you stop the leaks and keep more of the money you've already earned. And you don't have to do it alone. As construction bookkeeping specialists, we help small contractors: Track job profitability in real time Catch hidden leaks before they get worse Set up systems that save time and reduce stress Contact us today and get the help you need. About The Author: Norhalma Verzosa is a Certified Construction Marketing Professional and serves as the Web Administrator of Fast Easy Accounting, located in Lynnwood, WA. She holds a Bachelor's Degree in Psychology and is a Certified Internet Web Professional, with certifications in Site Development Associate, Google AdWords Search Advertising, and HubSpot Academy. She manages the entire web presence of Fast Easy Accounting using a variety of SaaS tools, including HubSpot, Teachable, Shopify, and WordPress.

This week, I am joined by LARRY CRANE (producer, engineer, owner of Jackpot! Recording Studio & founder/editor of Tape Op Magazine & Pink Floyd superfan), who chose the classic music film PINK FLOYD: LIVE AT POMPEII to discuss!!!We discuss the genesis of the film and all the different versions of this film (including the super frustrating screensaver version of Live At Pompeii), Chris's recent accidental hallucinatory viewing of the film and its many jump scares, Larry building Jackpot! Recording Studios & his early studio Laundry Rules, why artists often can't stop reworking their older bodies of work, Larry's gateway into Pink Floyd, The Benson Echorec piece of equipment used throughout this performance, Joe Boyd and the UFO Club, Larry building fuzz boxes without a switch on it, why the film is both wonderful and frustrating for Larry, the secret weapon of band member Richard Wright in this film, bands that spend over a year making an album, the accidental two-bass recording of 'One Of These Days', Syd Barrett's body of work, democracies within rock bands, monster drummer Nick Mason, is the film made for future scholars of the band or stoners, artists who don't suffer foolish questions, rock bands with zero body fat, Jonathan Richman doing an opening set before movies, and Larry getting an email for our episode from Alan Parson (the engineer of Dark Side Of The Moon) that solves a lingering question we've always had about the film!Overhead the albatross, hangs motionless upon the air (right?!?) on this week's episode of Revolutions Per Movie!AND OF COURSE THEY RELEASED YET ANOTHER VERSION OF PINK FLOYD LIVE AT POMPEII AFTER WE RECORDED THIS...HA! GET IT HERE:https://shop.pinkfloyd.com/collections/live-at-pompeiiLARRY CRANE: https://tapeop.comhttps://jackpotrecording.com/REVOLUTIONS PER MOVIE:Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.The show is also a completely independent affair, so the best way to support it is through our Patreon at patreon.com/revolutionspermovie. By joining, you can get weekly bonus episodes, physical goods such as Flexidiscs, and other exclusive goods.Revolutions Per Movie releases new episodes every Thursday on any podcast app, and additional, exclusive bonus episodes every Sunday on our Patreon. If you like the show, please consider subscribing, rating, and reviewing it on your favorite podcast app. Thanks!SOCIALS:@revolutionspermovieBlueSky: @revpermovieTHEME by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.com ARTWORK by Jeff T. Owenshttps://linktr.ee/mymetalhand Hosted on Acast. See acast.com/privacy for more information.

Welcome to Day 30 of the Double Your Profit SeriesThe go-to series for contractors, home service owners, and small business entrepreneurs.Today's topic is one of the biggest levers you have in scaling your company: Cut Overhead Like a Maniac.

"Jerry-Rig"[30:00 / 32:00 Clock]For Time-1mi Run-2k Row-1mi Run...Find 1RM Shoulder-to-Overhead in Remainder» View the Video Version: https://youtu.be/3pOmvNIs1l8» Hire a Coach: https://zoarfitness.com/coach/» Shop Programs: https://www.zoarfitness.com/product-category/downloads/» Follow ZOAR Fitness on Instagram: https://www.instagram.com/zoarfitness/Support the show

Join Dr. Leon Klempner and Amy Epstein as they interview Dr. Scott Law, a trailblazing Orthodontist, Philanthropist, and Entrepreneurial Spirit behind Smile Doctors. From humble beginnings to leading a 550-location organization, Dr. Law shares how leadership and culture fuel success in orthodontics. His insights on branding, authenticity, and mentorship, paired with practical tips for navigating technology expenses and fostering relationships, make this episode a must-listen for orthodontists seeking practice growth and a lasting impact through coaching and philanthropy. Remember, as Dr. Leon always says, “There has never been a better time to be an orthodontist!” IN THIS EPISODE: (00:00) Introduction(04:04) Discussion on philanthropy: Smile Rescue and Mount Kisco Childcare Center(07:20) Dr. Scott Law, co-founder of Smile Doctors, the largest OSO with over 550 locations(11:14) Smile Doctors' growth from a single practice to a billion-dollar organization, emphasizing culture and leadership(15:19) “Speed of the Leader, Speed of the Team," linking leadership pace to team performance (18:04) Overhead, staffing costs, technology expenses and sound business strategies(21:46) Branding as a reflection of practice culture, stressing authenticity to attract patients(27:20) Dr. Law stresses relationships and systems for private practices to thrive with OSOs(29:43) Dr. Law shares his podcast and offers coaching for orthodontistsKEY TAKEAWAYS: Strong mentorship, authentic leadership, and a values-driven culture are essential for lasting success in orthodontics and dentistry.Innovation and meaningful partnerships fuel sustainable business growth while leaving a positive legacy in the community.Aligning authenticity, values, and influence ensures both professional excellence and personal fulfillment.RESOURCE LINKS:People + Practice - Website Leon - EmailAmy - EmailPeople + Practice - EmailAbout Smile Doctors | Family Orthodontists in Over 25 StatesScott Law - Co-Founder/CCO at SmileDoctors | LinkedInSmile Doctors Off Mute - PodcastKEYWORDS: Orthodontics, Leadership, Practice, Culture, Philanthropy, Entrepreneurial Spirit, OSO, Team Performance, Digital Orthodontics, Practice Growth, Staffing Costs, Technology Expenses, Overhead, Branding, Authenticity, Relationships, Mentorship, Coaching, Dr. Scott Law, Smile Doctors, Smile Doctors Off Mute Podcast, Golden Age of Orthodontics, Practice Talk, Smile Rescue

Discover how international virtual team members are transforming the dental industry. Richard Low sits down with Cory Pinegar, founder of Reach, to explore hiring trends, practice profitability, and operational strategy. They break down how to save $24K per hire while boosting team culture, patient satisfaction, and bottom-line growth.