Podcasts about Overhead

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Episode title: "Use Caution When Opening Overhead Bins” Lisa and Daniel visit an Igbo King. Emma's secret leaves her future with Ziad in jeopardy. Aviva presses Stig for the truth. Forrest plans a special day for Sheena. Elise prepares to meet her Australian boyfriend, Joshua. -- You can gift the gift of gay all year round!  ⁠https://www.patreon.com/RealityGays/gift⁠ JOIN RealityGays+  + Patreon ⁠⁠ ⁠⁠⁠⁠https://www.patreon.com/RealityGays⁠⁠ or  + Supercast ⁠⁠ ⁠⁠⁠⁠https://realitygaysmulti.supercast.com/⁠⁠  + Apple Subscriptions https://podcasts.apple.com/us/podcast/reality-gays-with-mattie-and-poodle/id1477555097  +Watch us on video ⁠⁠www.youtube.com/@RealityGays⁠⁠ Click here for all things RG!  ⁠⁠⁠https://linktr.ee/RealityGays⁠ COME at Mattie on Cameo!  https://v.cameo.com/e/jnrS9iCLi0b To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Elise wants to show us her nipples; Forrest and Sheena get engaged; Lisa and Daniel go to see KING DON SYLVESTER NWEKE. For their buy 1 get 1 50% off deal, head to 3DayBlinds.com/CRAYCRAY.   Head to ⁠⁠Marley⁠⁠Spoon.com/⁠⁠offer/CRAYCRAY⁠⁠ for 45% off your first order and free delivery.  Head to ⁠Ollie.com/CRAYCRAY⁠, tell them all about your dog, and use code CRAYCRAY to get 60% off your Welcome Kit when you subscribe today!   Sign up for our premium podcast feed with 3x the content! Just go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.realitycraycray.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for a 30 second sign up for as little as $5, or if you already have a Patreon account, go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://patreon.com/realitycraycray⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.  Other Links: Instagram ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://realitycraycray.com/instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Leave us a review: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://realitycraycray.com/review-us⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Gift a Subscription: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://realitycraycray.com/gift⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit podcastchoices.com/adchoices

Lisa and Daniel visit an Igbo King. Emma's secret leaves her future with Ziad in jeopardy. Aviva presses Stig for the truth. Forrest plans a special day for Sheena. Elise prepares to meet her Australian boyfriend, Joshua.---Vanity Farah is a fun and femme coded pop culture recap podcast with Chris Farah, an actress, writer, comedian who is obsessed with pointing out the aesthetic choices and beauty trends she sees in reality shows like 90 Day Fiancé and Love is Blind. We deeply and sassily examine the choices that reality subjects make in the pursuit of love, and relate hard to the humanity on display, from questionable eyebrow shapes to the profound loneliness that plagues us all. If you want a smart yet silly friend to talk about dumb, escapist things with, subscribe, follow, and give 5 stars. Follow Chris in all her platforms! https://www.youtube.com/@ChrisFarah instagram.com/chrislfarah https://www.tiktok.com/@chrislfarah https://substack.com/@chrislfarah https://www.patreon.com/chrisfarah/Become a supporter of this podcast: https://www.spreaker.com/podcast/vanity-farah-with-chris-farah--6618122/support.

00:00 - Intro00:33 - Strength Training After 7005:58 - Sandbag Carries and Anaconda Strength12:17 - Joint-Friendly Ways to Stay Active15:58 - Dan John's Honest Take on Fasting27:29 - Why Does My Overhead Press Stall?31:59 - The Value of Learning Olympic Lifts After 4036:16 - How Do You Get Stronger Without Gaining Weight?► Personalized workouts based on your schedule, ability, and equipment options. http://www.DanJohnUniversity.com.► If you're interested in getting coached by Dan personally, go to http://DanJohnInnerCircle.com to apply for his private coaching group.► Go to ArmorBuildingFormula.com to get Dan's latest book.

Lesley Logan and Brad Crowell unpack what having a “Pilates body” actually means, diving deep into the misconception that health has a specific aesthetic. They explore why moving for health matters more than chasing a look, how confidence is built through action, and what it takes to stop shrinking your own story. Through honest reflection and real examples, this episode challenges the narratives that keep people playing small. Listeners are invited to redefine strength from the inside out. If you have any questions about this episode or want to get some of the resources we mentioned, head over to LesleyLogan.co/podcast https://lesleylogan.co/podcast/. If you have any comments or questions about the Be It pod shoot us a message at beit@lesleylogan.co mailto:beit@lesleylogan.co. And as always, if you're enjoying the show please share it with someone who you think would enjoy it as well. It is your continued support that will help us continue to help others. Thank you so much! Never miss another show by subscribing at LesleyLogan.co/subscribe https://lesleylogan.co/podcast/#follow-subscribe-free.In this episode you will learn about:Why “Pilates body” was never meant to describe a physical aesthetic.Moving for health instead of chasing shape or size outcomes.Reframing “fake it till you make it” as a confidence tool.How luck narratives keep people from owning their grit.Why having the right people in your corner matters long-term.Episode References/Links:Agency MINI - https://prfit.biz/mini Poland Contrology Pilates Conference - xxll.co/poland Brussels - xxll.co/brussels POT London - https://xxll.co/pot Spring Training - How to Get Overhead - https://opc.me/events The Pilates Body by Brooke Siler - https://www.amazon.com/dp/0063337163The Great American Spit Out - https://beitpod.com/americanspitoutRethinking Thin by Gina Kolata - https://a.co/d/0djq9K9pHysteria Podcast - https://beitpod.com/hysteriaButts: A Backstory - https://a.co/d/gHqMk8vSend your wins or questions - https://beitpod.com/questions If you enjoyed this episode, make sure and give us a five star rating and leave us a review on iTunes, Podcast Addict, Podchaser or Castbox. https://lovethepodcast.com/BITYSIDEALS! DEALS! DEALS! DEALS! https://onlinepilatesclasses.com/memberships/perks/#equipmentCheck out all our Preferred Vendors & Special Deals from Clair Sparrow, Sensate, Lyfefuel BeeKeeper's Naturals, Sauna Space, HigherDose, AG1 and ToeSox https://onlinepilatesclasses.com/memberships/perks/#equipmentBe in the know with all the workshops at OPC https://workshops.onlinepilatesclasses.com/lp-workshop-waitlistBe It Till You See It Podcast Survey https://pod.lesleylogan.co/be-it-podcasts-surveyBe a part of Lesley's Pilates Mentorship https://lesleylogan.co/elevate/FREE Ditching Busy Webinar https://ditchingbusy.com/Resources:Watch the Be It Till You See It podcast on YouTube! https://www.youtube.com/channel/UCq08HES7xLMvVa3Fy5DR8-gLesley Logan website https://lesleylogan.co/Be It Till You See It Podcast https://lesleylogan.co/podcast/Online Pilates Classes by Lesley Logan https://onlinepilatesclasses.com/Online Pilates Classes by Lesley Logan on YouTube https://www.youtube.com/channel/UCjogqXLnfyhS5VlU4rdzlnQProfitable Pilates https://profitablepilates.com/about/Follow Us on Social Media:Instagram https://www.instagram.com/lesley.logan/The Be It Till You See It Podcast YouTube channel https://www.youtube.com/channel/UCq08HES7xLMvVa3Fy5DR8-gFacebook https://www.facebook.com/llogan.pilatesLinkedIn https://www.linkedin.com/in/lesley-logan/The OPC YouTube Channel https://www.youtube.com/@OnlinePilatesClasses Episode Transcript:Lesley Logan 0:00  We have to cut to the bullshit of like, what a healthy body looks like. We just have to. Like, I am massively impressed by these strong women and strong men. They are not tiny people, they are big people, and what they can do is fucking insane. Lesley Logan 0:14  Welcome to the Be It Till You See It podcast where we talk about taking messy action, knowing that perfect is boring. I'm Lesley Logan, Pilates instructor and fitness business coach. I've trained thousands of people around the world and the number one thing I see stopping people from achieving anything is self-doubt. My friends, action brings clarity and it's the antidote to fear. Each week, my guest will bring bold, executable, intrinsic and targeted steps that you can use to put yourself first and Be It Till You See It. It's a practice, not a perfect. Let's get started. Lesley Logan 0:54  Welcome back to the Be It Till You See It interview recap where my co-host in life, Brad, and I are going to dig into the redefining convo I had with Brooke Siler and Maria Earle in our last episode. And if you didn't listen to that one, you fucked up, you missed, you messed up. Brad Crowell 1:09  Game over. Lesley Logan 1:09  I'm sorry. I hate to say it that harshly, but you gotta, you gotta listen. I mean, what are you doing? How are you missing the Tuesday episode? No, I'm kidding. Listen to this. Sometimes people like to listen this, and then they go listen to that one. So if that's you, I'm not harping on you, you're gonna go listen to it, because you are gonna be so intrigued if you missed it. It was so good. It was so fun. Brad Crowell 1:28  Yeah, it was good. It was actually a lot of fun. And there were, like, some great moments in there that I started taking notes. Lesley Logan 1:35  Whoa, whoa. 643 episodes later, friends and he is taking notes. Oh, my God. Well, today is February 19th 2026, it's a Great American Spit Out. We observe Great American Spit Out on the Thursday of February's third full week every year. So complicated. This year it takes place. I have a really funny side note, I listened to this podcast. Brad Crowell 2:01  Third full week. Thursday of the.Lesley Logan 2:04  Yeah, The February's third full week every year. Yeah. So there's this one podcast I listened to, and those, I won't say the podcast name, because if you listen to it, you'll know what I'm talking about. And she always says the date, and she'll say 2000 2026 and it's taken forever for her to go, what I'm not saying it right? They're like, No, you're not, anyways. And that just made me think of it like, let's make it as complicated as possible. Thursday of February, third full week of every year. So would it be the third Thursday of the fullest week in February? Brad Crowell 2:37  Why would the third week of February not be full? Lesley Logan 2:39  Well, because you could start on a for the first could start on a Thursday. Brad Crowell 2:40  Oh, I see. Lesley Logan 2:41  And so that's not a full week. Brad Crowell 2:43  So it's not, technically, the third Thursday, because if the if the week start, if it starts on a Wednesday, the first Thursday is not a full week.Lesley Logan 2:54  The third Thursday of February's fullest week. Brad Crowell 3:00  I think this is hilarious. Moving on.Lesley Logan 3:02  Anyways, they're like, dying to know what this is. So this year, it takes place on February 19th. It's a day to encourage people, especially veterans, to stop using smokeless tobacco products. The important mission of the day. I mean, honestly, this is for everybody. I appreciate that we're encouraging our veterans.Brad Crowell 3:19  All tobacco products, but right now we're talking about the Great American Spit Out, which is clearly talking about dipping, yeah, dipping and other things. Lesley Logan 3:27  Dipping and other things. I guess there's other things. So the important mission of this day is to provide users with enough resources to help them stop using such products that tobacco plant is cultivated for its leaves. Tobacco leaves are rich in nicotine, which is an addictive chemical people can use tobacco to smoke, chew or sniff. The Great American Spit Out as the perfect day to start, to start fighting the addiction caused by tobacco products and nicotine. Smokeless tobacco users are encouraged to quit, even if just for one day. Hey, you know what? You know around here, we are here for just one day. Anything to start. I actually really picked this day because a few other days were quite boring. But my family has a history of smokers and it and all of them had to have surgery, and all of them did not die on an easy in an easy way. So my grandfather, he had a part of his lung removed, like a huge part back in the day when they did those surgeries, it looks like a shark bit him. And they would show us, this is this is our hooked on trucks. This is our dare campaign. My family would pull up a shirt and show us the shark attack. Oh, this is gonna happen to you if you smoke. And then, yes, but your parents did a more, kinder.Brad Crowell 4:25  Yeah, we didn't have any shark attack smoking shark attack (inaudible).Lesley Logan 4:29  Everyone was able to learn, like the way I was raised. And then my mom had another because of the blood, the way his blood coagulated, and his tobacco use started losing limbs. And to the day he died, he still smoked. Because at one point he was like, Well, if I have no feet or legs or fingers, I should at least continue to smoke. And then his wife died of secondhand smoke. She died of emphysema. So yeah, so at any rate. So I also looked up because we are hearing that tobacco products are back on the rise again, partly because, like, you know, the hooked on drugs is your brain on drugs and and and things like that aren't working. But also the youth today, the youth, the younger people today, the youths, they are actually they're they actually don't they have a deeper sense of fatalism, like they actually don't think that they'll be alive as long as the rest of the world has been or in a world that is going to be healthy and clean for them. So why not smoke? Which I get that? Here's the deal. Brad Crowell 5:25  Aren't they drinking less though?Lesley Logan 5:28  They don't drink as much, they also have sex later, so that's cool, or less. Do you know today, the day that we're recording this, I heard that 40 year old women are having more babies than teenagers, and that's huge. That is a huge deal Because, like.Brad Crowell 5:43  That's not what I don't think I would have expected that, but that's great.Lesley Logan 5:46  Well, because now IVF has gotten better and kids are having less sex. So, you know, so I think, but here's the deal. Like, look, we all have our vices. We all have our addictions. And there's just something about cigarette smoke that just and if you're a smoker who listens this, I'm not judging you. I feel bad that you got hooked on that you got hooked on it, and it bothers me, and I understand, like you could be addicted to alcohol and other things that are as bad. But there's just about cigarette smoke that I fucking can't stand. I can't stand walking by a doorway and smelling it. I can't. So if, if, if me wanting to stand next to you outside matters, maybe you quit today, and I know you're like Lesley, this is chewing. Well, chewing causes jaw cancer, you know, so tongue, not not sexy, not sexy. In fact, one of our friends fathers had jaw cancer from smoking, from chewing tobacco, and so we all got to see that. That was my parents way of making sure we never started chewing. Brad Crowell 6:43  The Shark Attack of the jaw cancer. Lesley Logan 6:45  Well, it's not sexy. I'm gonna tell you right now, even if you're fatalistic, you definitely want your teeth you do. So stop smoking, even for today. Okay, let's get into it. So oh gosh, my goodness, babe. Agency Mini kicked off today.Brad Crowell 6:59  Today. This morning. We are, we are, while you're listening to this, we're probably live on a webinar. Lesley Logan 7:05  Yeah? So you can, I think you could still sign up today, but. Brad Crowell 7:08  You sure can. Lesley Logan 7:07  But it's gonna move quick, so and you don't want to wait till the next one, because I know you're like, Oh, I'll wait till the next one. You'll forget about it. So you should just sign up for today. prfit.biz/mini it's for Pilates instructors and studio owners who work for themselves or want to. We are going to get you clarity. We're gonna help you with your business. Brad and I have been around a lot of different fitness business coaches out there, and one thing that they all have in common is treating you all the same and encouraging your business to follow certain templates. And we want you. We've I believe that your business will ride any recession wave if you are differentiated and your services are diversified, and it follows your goals and your life, and that's what we coach. Brad Crowell 7:31  That is. But, so go to prfit.biz/mini. That's profit without the O slash mini, and then in March, we're hitting the road, y'all, in a different way than normal when we when we say we're hitting the road, usually means we're hopping in the van. This time, we are hopping on a plane. We are going to be skipping across said pond. Lesley Logan 8:07  We're going to be in Poland. Yeah, Poland first for the Controlology Pilates conference with Karen Frischmann. That's gonna be a couple of days of epicness. And there's a day where you can get some sessions, and it's just a lot of fun. If you didn't, if you missed us the last time was a couple years ago. Don't miss this one. We don't know when we're coming back, and that's just because the world is really big, and I've got to start going to new places. You know, we need to go to Australia and stuff. So xxll.co/poland and then we'll, we'll venture over. I don't really know if it's I have, you know, when I look at the map, I'm so confused. I don't know. I clearly forgot how to study the map of Europe. So we're gonna go over to Brussels. I'll just say that, because I don't really know if it's up or down, or east or west. We're going to Brussels. xxll.co/brussels, we'll be at Els Studio. P li tells which I just love. I love NFL is listening to this one of my Oh, whenever I hear what else I always think of? What else? Yeah, yeah. From our time with Jay, we would start going, what else? What else? Anyways, xxll.co/brussels that's, when we meet Karen, again. Brad Crowell 9:11  Let's just say that again, xxll.co xxll.co/brusselsLesley Logan 9:17  What you can't you can't hear this fast you can hear. And that's just giving out the fine print. It's Karen and I again, also our friend Ignacio is going to be there. Oh my gosh, I love him so much I can't even wait. So definitely snag your spots to that before it's sold out. And then we're gonna do our second honeymoon and make our way over to London to POT London, and I have some information for you folks. My Saturday workshop is sold out. Brad Crowell 9:45  What already? Holy mackerel. Lesley Logan 9:47  Yeah, it is. It is at max capacity. And there's only a few spots left in my Sunday workshop. So if you are wanting to add classical concepts to your contemporary classes, then you're going to want to go xxll.co/pot xxll.co/pot I'm super excited. We'll have our decks there. Those workshops will happen, and you definitely want to stick around, because there's also going to be a little hangout session that we're doing for our members and our listeners. And then there's a really cool documentary that they are doing. The release, Pilates Anytime is doing the release of at that POT event. Yep, you'll want to be there. Then we're gonna come back. Brad Crowell 10:25  Then we're coming home. Lesley Logan 10:26  And we're doing some fun stuff at home. We have eLevate weekend, we have eLevate retreat. We have business retreat. You know those things you can't come to unless you can, and you'll know if you can. So you got an invite, but what you can come to is something we're doing in May. And believe it or not, May is still springtime. Brad Crowell 10:49  Believe it or not. Lesley Logan 10:49  It's still springtime. And so. Brad Crowell 10:51  News flash. Lesley Logan 10:48  News flash. Well, some people think it's the summer because of the weekend, the holiday weekend, but it is still spring, and we're doing spring training, and it's how to get overhead so this is our overhead exercises. We have a lot of requests for people struggling with Overhead, Jack Knife, Control Balance, High Season, Bicycle Headstands. So what I'm super excited about is that we're going to do a whole week long on all these different classes with different teachers from the OPC platform, so that no matter your body size, height, age, experience, you are going to have a class. It's going to give you tips for for your life, for your practice. I mean, we even have a teacher who's removing overhead exercises from her practice, and so you don't let fear stop you from this one or, Oh, I'm a beginner, or I can never do that. I have contraindications. We will have versions and variations for you. And our goal is it's kind of like. Brad Crowell 10:51  Look, it's how to do it, not necessarily having to do it, right? How to do it, not have to do it. Lesley Logan 10:54  Yeah, yeah, yeah, yeah. And at OPC, we're really big fans of like you you learn the variations and the versions replacements for your practice, and then we believe it's brave and courageous that you do that. So we're super excited about it. You're going to want to go to opc.me/events, to get on the waitlist for that, because you'll, you'll, if you're on the waitlist, you'll hear about Early Bird and all that good stuff, and so you won't miss out on that information.Brad Crowell 12:08  Yeah, totally. Well.Lesley Logan 12:10  I'm excited we have. I mean, hello, welcome to the new year. I know it's February 19th, everyone. Brad Crowell 12:14  Busy busy year already. Lesley Logan 12:16  But we just got home. This is our first day in the office. Brad Crowell 12:18  This is literally the first full day in the office, and it's already January's almost done.Lesley Logan 12:23  I know, I know I kind of like it, though I feel very I felt ready to come back to work today. So anyways, we have to get into this episode before that. We have a question from audience. Would you like to share it with me, babe? Brad Crowell 12:35  Yeah. So IG, from IG, Pilates_Rosi is asking, Hey, someone told me that you should always gear out on the Reformer to do the short box series. Yes, no. Do you agree? Lesley Logan 12:48  Isn't always such a strong word? Brad Crowell 12:50  Always. This is why I failed all personality tests, because there's always an exception. So the answer would be fucking no, but.Lesley Logan 12:57  Yeah, I don't always do anything. Brad Crowell 12:58  Oh, right. We don't always do anything ever come on. Lesley Logan 13:00  And also not every Reformer gears out. So then what? Right? Brad Crowell 13:04  Then, what are you supposed to do? Should you be gearing out? Maybe that's a better way to ask the question. So we're not getting into our ADHD-ness.Lesley Logan 13:12  All right, so in an ideal world, your some people call it a sitting box. I call it a short box, goes over your shoulder blocks on the carriage, like a hamburger side, like it's, I guess. Anyways, I'm trying to describe how it goes on the Reformer for visual. But anyways, the short box goes on the carriage over the shoulder rest. That's the goal. So most Reformers will have a peg or some sort of post that is on there, and then there's space, and then there's your shoulder block. And so the box would, one side of the box would fit between that and lock it into place, lock in air quotes, right, would sit in there.Brad Crowell 13:44  So it's not sliding off easily. Still can if you're not paying attention. Lesley Logan 13:44  I mean, you could. You know, people have done funny things, but in an ideal world, you just sit on it, and it's not going to move forward or backwards. It's going to be in place. And then from that position, your feet go underneath the strap and they should. Brad Crowell 14:01  You're facing the foot bar. Lesley Logan 14:06  You're facing the foot bar. Brad Crowell 14:08  Feet go in the strap. Lesley Logan 14:03  In an ideal world, your feet do not rest on anything. That said, sometimes they touch things. There's a difference between touching and resting, right? However, I have noticed in our tours that there are a lot of new rules out in the world, and so there are some people who put the box in front of the shoulder rest. And I think this is because people aren't really paying attention to how they put the box on.Lesley Logan 14:09  So you're saying in front, as opposed to over the shoulder, okay. Lesley Logan 14:10  Over exactly in front. So they put them in front of the shoulder rest. Because I think the boxes are getting damaged because people aren't paying attention to what they're putting the box on. Or some equipment has, like, different things back there on their blocks. They have to go in front of the shoulder blocks. So if you're going in front of the shoulder blocks, most of the time, you're going to gear out. Unless someone is fun size and your box is really big, you're going to gear out. What does that mean? It means you're going to move the carriage away from the strap a little bit so that you can actually have straight, non resting legs when they're under the strap. Now, can the legs be slightly bent, of course. Should they be forced to bend? I wouldn't, because then it makes it really difficult to get into your seat. Makes it really difficult to get into your center. Your hip flexor start pulling you up. So here is the thing that I would agree with.Brad Crowell 14:10  When you say the thing you're talking about now we're talking about the actual gearing. Lesley Logan 14:10  We're going to talk about the exercise. In an ideal world, you place the box on the equipment where the body needs it, so that their legs can be reaching as long as possible without locking out, and their feet are underneath the strap flex without resting. That's the goal. Brad Crowell 14:10  Okay.Lesley Logan 14:10  That's the goal. So it's going to be different for everyone. Some people are going to be in front of the shoulder blocks. Some people are going to be over the shoulder blocks. Some people are gonna be front geared out. But if you are putting the box in front of the shoulder blocks, because that's a rule, most often, you're gearing out. Brad Crowell 15:27  Yeah, because it's now shifting the box forward like four inches. Lesley Logan 15:35  And then, by the way, you have to gear back in, because the straps are measured with the carriage geared in, and so in my opinion.Brad Crowell 15:52  So it's really a pain, that's a pain in the ass. Lesley Logan 15:54  Yes, thank you so much. Just put the box over the shoulder blocks. Why are we doing why are making this harder? Oh, because we don't want just teach people, you have to. I remember my trainer saying, hey, when you put the box on, make sure this part of the leather is underneath the box. Otherwise it will curl in and it will break and it will hurt against someone's neck. Okay, great. Just tell people. This is why we have a weird rule, you know, Hey, you think polite is expensive. Don't damage the box. How about that? Okay? Brad Crowell 16:21  Yeah, don't damage my damn box. Lesley Logan 16:24  So anyways, I just think that like I get, I get, I get why some people make funny up rules, but we are when you change the exercise placement, you change the exercise, and when you change that, it affects the cueing that people are giving, and then teachers are giving out weird ass cues that make no sense to the person doing it, because they're like, well, how do I get my butt on if my hip flexors are overworking, you know? So it's just hard. So anyways, hopefully, Pilates_Rosi, this gives you some ideas to think about. Definitely check out my videos on the short box, and in my flashcards, you can see where the box is placed. You can see how long my legs are. And if you're an OPC member, you can send in a video. Brad Crowell 16:57  You can see how long her legs are. Lesley Logan 16:59  Oh, my God, they're so long. But if you're an OPC member, you can send in a video of your setup for your short box, and I'll give you personalized feedback on where your box goes. There you go. If you have a question, you can send it in.Brad Crowell 17:13  Yeah, send it in. You can text us, 310-905-5534, or hit us up. At beitpod.com/questions, beitpod.com/questions, where you can leave both a win or a question. Lesley Logan 17:25  I want your wins. Brad Crowell 17:26  Yeah. Lesley Logan 17:27  I want your questions and your wins. I want all. I want it all. Brad Crowell 17:30  We want them all. All right, stick around. We're going to talk about Brooke Siler and Maria Earle. Brad Crowell 17:34  All right. Welcome back. Let's talk about Brooke Siler and Maria Earle. Brooke and Maria are internationally respected Pilates educators with over 50 years of combined teaching experience. Brooke, the author of the best selling The Pilates Body dropped in 2000 y'all, has spent decades teaching and researching Joseph Pilates' original writings, photos and archival materials which deeply inspired the new 25th anniversary edition of her book and its expanded chapter on internal sensing and natural movement. Maria, who began teaching in 1997 and previously owned a Pilates studio in Manhattan's Upper East Side, now runs a global education practice from Barcelona, where she moved, I think she said, about 15 years ago, she appears as the model in Brooke's new edition of the book, and was chosen for her grounded, internal, authentic approach to movement, rather than an her aesthetic performance. Together, they're redefining what a Pilates body really is.Lesley Logan 18:34  Okay, so I have to say, and I did say this on the episode, but I had, I have many Pilates people pitched to be on this podcast, and while we talk about Pilates a lot, it's not a Pilates podcast like I know it's for Pilates listeners. But to me, Pilate is a mind body, you know, practice, and sometimes our mind is a little fucked up, and we need help from these Be It guests that we have so we can get into our body around our practice. So, but I really wanted to interview them, because what a e it till you see it story and just how the book came about, how the second edition came about, how Maria jumped in on the second edition. I mean, she was so vulnerable and authentic about all about that, about joining the book. And I love that Maria said, let's celebrate the body as it is. Let's cut to the bullshit of what it means to have a Pilates body. And I here's the thing that's really interesting, right? Like, when I bought the book, The Pilates Body, I wasn't like, Oh, I'm going to look like this after I do this book. Like, that's not how I interpreted the book. It's kind of like, like a runner, like, you know what I mean? Like, what do these things mean.Brad Crowell 19:31  That'd be weird to pick up, like, a Gold's Gym muscle book and be like, Oh, if I do these exercises, I'm gonna look like Arnold.Lesley Logan 19:37  I'm gonna have the Gold's Gym body, you know? And like, I mean, I guess like people, I guess people do, but I think this all stems from just terrible media information on what a healthy body looks like. And so I couldn't agree more with like, with the cut through the bullshit of what a Pilates body means, because we have to cut through the bullshit of like, what a healthy body looks like. We just have to. Like, I am massively impressed by these strong women and strong men. They are not tiny people. They are big people, and what they can do is fucking insane. Brad Crowell 20:07  Yeah like, the dudes who pick up the boulder and carry it down the thing, or those, like weird, like rock that are, like, shaped like, kind of like a diamond, like those, and there are hundreds of pounds. Those people who are in those bodies, those are huge bodies. They're not, they're not. Lesley Logan 20:23  They are stronger than anybody I know. Brad Crowell 20:25  Yeah. Lesley Logan 20:26  Literally any, any of the bodies that we work out with, that we're friends with, that we're connected with, stronger than any of the bodies I know. Remember when we watched, what was that Korean show?Brad Crowell 20:36  The one the 100, the 100, the physical doc.Lesley Logan 20:39  Oh, physic, Physical 100. Brad Crowell 20:42  The Physical 100. Lesley Logan 20:42  Didn't translate well, which is why. But like, it was interesting because, like, they brought on all these different athletes, or pseudo athletes and trainers, and they had all these different bodies, and depending on the challenge, certain bodies did better, right? Like, the mountain climbers certainly slayed the first challenge over the strong men, but then when it came down to the end, you had an equal amount of people who were in bigger bodies and endurance bodies at the same challenge. And so what it comes down to is like, on average, most of us, if we are paying attention to our body and balancing out our strength and flexibility and our endurance, can do a fuck ton of stuff, but so many of us are, like, obsessed with getting smaller, and it's boring. Anyways, I could keep going, but she for Maria, you know, she there was an internal struggle because, of course, like, she was excited about the conversation, and then she's still a human being. So we got to talk about, like, when you look at yourself in those pictures and you go, yeah, I'm a proud of my body. I'm proud to be part of this, but ooh, that's what I look like, and I resonate with this so much. I was, I was doing a photo shoot yesterday, and I was just like, Okay, guys, this is not a sitting outfit. This is a standing outfit. So can you like because, because also it's like, how much of it do you want to be as a just, how much of it is a distraction versus like, the point or, or do we just do it so that people feel real, see real bodies more often? Like, it's, it's such a complicated thing, and your your mind messes with you based on how you were raised. And these stories take a long time, but she said for her, it was bigger than the photos. She said it became about reframing what is in our bodies, to be embodied and to celebrate all the different phases. And I love this so much because, you know, Maria, Brooke, and I, and many people listening, our bodies are in a different part of our journey. So it's just we're, you know, we're not going to look like 20 year olds, nor should we. And then Brooke also was conscious of this issue because in 2000 she had wrote in that issue that she said she hopes, in earnest that the models in the book inspire and don't intimidate, because she chose the original models for their strength and endurance, and also because they knew the work, I think that that's, you know, really hard when you're trying to pick it out and not because of their size and it. And I think even though her heart was really, you know, in there about inspire and not intimidate, like people just have a really hard time reading all the words and applying that to themselves. And so I'm excited for this additional chapter.Brad Crowell 22:57  Yeah, I also just wanted to say I'm glad you grabbed this as your topic, because I when I said I started taking notes, I actually was quoting you. As much as I appreciate the interview, you said something that really stuck out to me. You said we should have always been moving for the health of it and not for the shape of it. Move for the health of it and not the shape of it. In fact, I thought it was kind of quippy little, like, tagline, you know, for the health of it, because it's almost like, for the hell of it. Lesley Logan 23:29  Isn't it so great that I can come up with these things?Brad Crowell 23:33  Also, it's so great that I can hear them and be like, we should clip that. Lesley Logan 23:36  That's your job. Brad Crowell 23:37  Be It Till You See It, baby.Lesley Logan 23:39  Well, and I think that comes from like, I don't know if I mentioned on this episode or a different one, but I read a book called Rethinking Thin and at the same time that I picked up The Pilates Body book, I picked up that book because I was thinking about becoming a personal trainer, and I was doing this personal training stuff. And it was this history. It's a history of dieting and, like, where dieting came from and where the ideal woman's body came from. And it's two fucking things that'll fuck and piss you off. One, it's a cartoon drawing. So that's annoying, because it's not even fucking real. And then the other was on the statue, Norman. So the Norman statue. Brad Crowell 24:12  Is it the one holding the earth? Lesley Logan 24:13  No, but it's just a man. It's just a man. And then what they did for Norma. Brad Crowell 24:14  Oh, Norman, Norman, versus Norma. Lesley Logan 24:19  Norma, or nor woman, from what I understand from it, a book about butts it's, they basically took. Brad Crowell 24:27  I really hope that was the title, A Book About Butts.Lesley Logan 24:29  I think it is. I'll look at while you're talking about your favorite thing, I'll look it up. They basically put boobs on Norman. Well, Norman does not have estrogen. His pelvis is a different shape, like, oh my God, he doesn't even have.Brad Crowell 24:42  Oh I see. So you're they took, they took sculpture of a man and just put boobs, and then said, this is what the ideal woman should look like.Lesley Logan 24:50  This is what a woman looks like. And so I think ideal, I think it might have been average, right? But it's not that's not even a thing, not even impossible. So, anyways, like, because of the book Rethinking Thin, I learned about all the different diets that came around, all the different things that were obsessing about, and also how genetics plays such a massive role on the size that your body is determined to be. And then there's and then you go into the history of, like, when being heroin chic is in and it's always when they're trying to take rights away from women. Like, literally, if you take all the different times heroin chic was in and then you take all the different times they're trying to oppress women, they literally line up at the same time. So it's like, it's a cultic behavior of like, ladies stop eating so you your brain isn't functioning and you're not able to hear how we're taking your rights away. Anyways, what did you love?Brad Crowell 25:41  Well, I just wanted to say shout out to a podcast called Hysteria that I listened to that talks about this all the time, like the women's rights and. Lesley Logan 25:52  Oh, we love Hysteria, yeah. Brad Crowell 25:53  And, you know, like, it's a lot of politics as well, but it's two, you know, very powerful women who really dig in. And it's been really enlightening for me to see this from a different perspective.Lesley Logan 26:06  Yeah, the book is called Butts: A Backstory by Heather Radke. Brad Crowell 26:12  By who? Lesley Logan 26:13  By Heather Radke. Brad Crowell 26:14  That's really funny.Lesley Logan 26:15  If anyone knows her, I want to interview her. But yes, it's about race, gender, control, beauty standards. It's, it's it's a lens of the human backside, and it's really great. But I also just want to say, if you're like, Oh, I get so annoyed when they get political. Ladies, being a woman in this world is political. Just, I hate to break it to you, but it is. Anyways, your turn. Brad Crowell 26:36  Yeah, you're not wrong. All right. Well, hey, look, back to Brooke and Maria. Maria also recounted how her mom often said, fake it till you make it. And I know that we've talked both times here about Maria, but I this really resonated with me, because I actually really wanted to hear you say, be it till you see it is the positive spin of fake it till you make it.Lesley Logan 27:02  I know, but, but I know, and I'm. Brad Crowell 27:03  We're not trying to take away from her. Lesley Logan 27:05  But also it works for her, like it works for her and it doesn't hold her back. So, like, I don't ever want to take something that works for someone away. And so I will let Brooke have fake it till you make it. That said. Brad Crowell 27:16  Maria. Lesley Logan 27:17  Oh, Maria said that, oh, yeah Maria said that. I will let Maria have that, because I think that's important. And also, if that is hard for you or inauthentic, then that's the be it till you see it reframe. That's all.Brad Crowell 27:28  Yeah and it is a reframe and, but it's obviously, you know. Lesley Logan 27:33  It's why always is a terrible word. Brad Crowell 27:36  Right. But she, she, so, Maria said she uses this when she's not quite sure what she's doing, or when she feels like she's not quite sure, helps her bypass the paralysis of starting where, you know, often starting things not 100% sure where they're going, but trusting that she's going to land on her feet. And, you know, I think it's really helpful. There's got to be, you know, it is a weird thing, right? This, this idea of having this internal dialogue of, like, your own internal like cheerleader versus like, you know, antagonist. And I think it's hard to sometimes be in the moment and see this is a time right now where I have to choose to fake it till I make it, right? You know, it's, it's hard to do that, but if you can, you know, being it until you see it is a win. You know, there's, there's a way to to at least get the ball rolling until, because confidence comes through action, right? It comes through doing and experiencing. So if you there's got to be a point where you got to get the ball rolling.Lesley Logan 28:39  Oh, couldn't agree more. And I like, I remember, like, you know, when I had a job in retail, one of the guys who worked for me, I was going through a lot, and I took him for his like, you know, monthly meeting. I said, Are you good? Like, I just know you got a lot going on outside of this. And he goes, Oh, none of that bothers me here, because when I cross the threshold of the store, sure, it's showtime. And that's another way of being it till you see it, or fake it till you make it, like, and I think that that's good mantra for us to have. And I also like, I think we are all putting too much pressure on feeling ready. You know, I don't know that I got to ask Brooke, like was, did she feel ready to like, add to this book? But also, like, this is a big endeavor to take a bestselling book and make changes to it. Like, like, the number of people like this book changed my life. I still have my book from 25 years ago. And then to go, Oh, I'm adding on. Brad Crowell 29:30  I'm just gonna make it better. Lesley Logan 29:30  I'm just gonna make it better. Brad Crowell 29:30  No big deal. Lesley Logan 29:31  And people didn't go, Oh, I'm just gonna keep the one I have. No. A bunch of our OPC members and our eLevate members all were like, Oh, I pre ordered the copy. I'm ready to go and, like.Brad Crowell 29:43  But, but I think this is, like, we're dancing around the word perfectionism, right? You know, like, the the idea of being ready to get started to do the thing, you know, that's, that's very much a perfectionism mentality, yeah. And it's, it creates this fear. That we're not gonna it's not gonna be right or done or perfect or whatever, and that that is debilitating, and also it is, like, the fastest way to go nowhere.Lesley Logan 30:10  Yes, it really is. And like, first of all, I think we, we're also blessed for the second edition of this book to be out, because the additional chapter isn't only a visual understanding of of what Brooke was trying to get in the first book, and also in the research she's done since. But, you know, she got to go through and, like, with 25 years of hindsight, and add into that, and it's, and I think that is a really beautiful thing, because it means the conversation continues, you know. And I think, like, going back to the word perfection, like, even though the book is it has hit print and you can all get it and you should, the conversation will continue. And I think that's what's really cool.Brad Crowell 30:47  Yeah, I think I'm, I'm excited for her, and also I love that she shared, that Brooke shared, oh yeah, I thought it was gonna get away with, like, the easy smack two books together and re release it, and be like, done. And then her publisher was like, No, no. Lesley Logan 31:02  Yeah, I know. I know. I actually really appreciated that, because when we redid the mat deck, we were like, Okay, we're gonna break these things out. And I think Meredith, I remember Meredith going, Oh, you edited every single card. And I was like, Well, yeah, because I thought we could just, like, pull these three out. But then once I did that, I was like, Well, I kind of got her through the whole thing like I now I know too much. I know too much about how it was used, and I.Brad Crowell 31:25  Well it would also have been five years, right? We got a tons of feedback. So I imagine that Brooke was similarly like, inundated with feedback for 25 years which is amazing.Lesley Logan 31:37  Probably, most unsolicited and some solicited.Brad Crowell 31:39  Yeah, I'm sure. I'm sure. But hey, there's one more thing I wanted to talk about that Maria mentioned that really struck a chord with me. I really appreciate it. She didn't quite say it that way that I have said it, but the story she told herself, right? She, you know, was that, oh, she was just in the right place at the right time to be able to move to Spain, decide to live there and become an international educator, right? That's the story that she told her. She said it was she was spinning a narrative that kept her small, right? And so effectively, that was how she was viewing herself, (inaudible) well, and then when people would ask her, what did she do? How did she do it? She would say, I was just in the right place at the right time, which then allows them to go, oh, you lucked out, right? And she's like, but that takes away from all the hard work and the tough decisions, then the scary decisions that I had to make to get here. And that's not, that's not true. Yes, there's, of course, there's always some element of luck to it, but, you know, she was very intentional about that. And so she started to talk about the that that like addressing the narrative of playing small, you know, and, and I really appreciate that, because I remember when I was working for someone else. I, you know, why did I not go and ask for a raise? Oh, I'm just, I shouldn't even be here, was what I kept telling myself. I'm just the musician that, like I, you know, if I had ever gone through an interview process, they never would have hired me. These are all the things that I used to say to myself to justify the position that I was in, and that's 100% playing small. So I really resonated with this when she was talking about this. And she said today, she reframes her story. She said, you know, what got her here was her grit, persistence and tenacity, not luck, you know? And I just applaud her for I think it's really important that we identify that in our own lives. What story are you telling yourself that's keeping you small?Lesley Logan 33:31  Ooh, good question. Journal on that. Brad Crowell 33:33  Yeah. Well, stick around. We'll be right back. We're going to dig into those Be It Action Items that we got from Brooke and Maria right after this. Brad Crowell 33:42  Welcome back. All right. So finally, let's talk about those Be It Action Items. What bold, executable, intrinsic or targeted action items can we take away from your convo with Brooke and Maria? Brooke said the only way out is through. The only way out is through. She said she has a mentor who's a Buddhist, and their guidance has been helping her push through the fear, especially when it comes to like we talked about, how do you make something that's 25 years successful even better, and not jack it up? The only way out is through, right? She said, if I see fear, I'm going to head towards that fear so that I can make it through, right? She said, now, when she has an idea she wants to share, she reframes taking action as sharing, rather than doing a thing for others to react to, which I thought was pretty cool, because what she was talking about you asked her, like, how do you have the confidence to do this stuff? She said she started teaching, and three years later, wrote this book, three years later, wrote this book that has been an international success. Lesley Logan 34:45  Took me six years to get the fuck on YouTube.Brad Crowell 34:48  Right? So that's kind of amazing. And you asked her, like, how did you do that? And she said, Honestly, I just get so excited about the thing that I'm focusing on that I want to share it. And I didn't, don't approach it in the way that, like I'm the authority. Listen to me. No, she's excited about this thing. She's nerding about out about it, and then she's sharing it with others. And that's how you know, that's what gave her the confidence.Lesley Logan 35:12  Well, and also, do you know that, like fear and excitement, the difference is breathing like they're on the same energetic wavelength. But why don't you breathe? Yeah, so if you're afraid or nervous, exhale, and then you can enjoy excitement, because it's the same. Brad Crowell 35:29  That's amazing. Lesley Logan 35:30  According to Gay Hendricks, and you know he is, he is one of the lords around here. Him, by the way, on the day we're recording this, it's not the day you're listening to it. He's 81 today, so, he's an Aquarian. Of course, he is. Of course, that's why I love him.Brad Crowell 35:43  That's amazing. Well, what about you? What was your big takeaway? Lesley Logan 35:47  All right, so I took some of Maria's Be It Action Item as my takeaway. So make sure you have people in your corner. Fuck yeah. If you don't, if your people in your corner suck at life. I know it's hard, it's almost hard to, like, have nobody, but I'd rather you have nobody, and like, you've held a space open for somebody, rather than have people who are who are, like, actively bringing you down. So just keep that in mind. Make sure you have some people in your corner. And she said, it's important that we nurture those relationships that you've built. It doesn't have to be big, but it should be something you can hold on to. And this is interesting, like, I'm always just reflecting, you know, yesterday in our photo shoot like I'm used to having a lot of friends I only saw once a month because we live in LA and there's traffic. And I love those friendships. And they don't have to to me. It goes back to me. It doesn't have to be big, doesn't have to be a weekly relationship, but it is something you have to have tangible. You have to hold on, to have some connections, and those are people you have in your corner. And so if you haven't yet, take some time go through your context, who's actually in your corner? Which nurture? Which relations do you want to nurture back and because in the hard moments, people who show up for you and see you for you are can reflect back to you all the good stuff that you are. And this has happened to me more times than I can imagine. And we have a friend who is recently going through something that's really quite frustrating and awful. And you know what? We don't talk to her very often, but we heard what happened. Someone else told us who's also in her corner. And a bunch of us are like, Oh, here's how we can support you. Boom, boom, boom, boom, boom, and she didn't ask for that help. I'm sure she didn't even know what kind of help we can give. But when you have relationships, you nurture, even it's on a quarterly basis, people will show up for you, and they'll and you'll show up for them, and it's, and it's quite it makes life a lot more fun. Brad Crowell 37:17  Yes, yeah. I definitely agree. You know, I think that we've talked about it before, being intentional about who you let weigh in, you know, or how, how much weight you give to their feedback, you know. So that's important. But I think also too, you know, there was an element to this conversation about allowing life to life and for relationships to change, which I also really appreciated, because I have always had a fear of loss, of letting go, I don't know why, and I've always struggled with, like, friendships drifting apart. And it was really interesting to hear her say, hey, it's kind of okay that that happens, and it allows you to take stock of who actually is paying attention and, like, in your world and choosing to be in your world instead of you, you know, trying to drag people along.Lesley Logan 38:07  Well, and also, I think, like, if they're really meant to be in your life, and you run into them, or something comes up and you call them, it will pick back up. Maybe there might have to be a quick conversation, or, like, why there's been so much space, but it'll pick back up. You know, we recently saw someone I haven't talked to in years. They were a part of my life for quite some time, and I had reflected about, like, why I let that kind of fade out. And when I saw them, I was like, yeah, it's okay. Like, I'm still okay with that decision. And I think it's hard, because we go, should I have a whole conversation with them? Should we dialog? Should we have, like, a whole like, here's why our relationship didn't know you don't need to have those things. You just can move on, because no one is right or wrong in these instances. It's just the way life goes. And you evolve, and they evolve, and sometimes that evolution is together and sometimes it's apart, and you can still support them from afar. I'm Lesley Logan. Brad Crowell 38:56  And I'm Brad Crowell. Lesley Logan 38:57  Go get The Pilates Body book if you haven't already, you should. It's so good, especially if you're into Pilates, it's, it's.Brad Crowell 39:02  The new one. Is the new one out? Lesley Logan 39:04  Yeah, the new one's been out since December. Brad Crowell 39:05  Great. So, so The Pilates Body 25th Anniversary Edition.Lesley Logan 39:09  Oh my God, if you want to see my reaction to my husband literally opening the package for me, instead of, like, every day for five days, watching me go to the mailbox to open this package, and then he just opened it. It's on my Instagram. It's in December. Brad Crowell 39:25  It would have been in November. It may or may not have happened. Lesley Logan 39:29  Yeah, yeah. It was, I was like, every day he's filming me check the mail for this book, and then the one day he gets the mail, he opened it. Anyways. Thank you so much for joining me. I'm Lesley Logan. I'm just so grateful for you. Make sure you send this to a friend who needs to hear it. We want to hear your wins and your questions, so send them in to the Be It Pod, and until next time, Be It Till You See It. Brad Crowell 39:49  Bye for now. Lesley Logan 39:50  That's all I got for this episode of the Be It Till You See It Podcast. One thing that would help both myself and future listeners is for you to rate the show and leave a review and follow or subscribe for free wherever you listen to your podcast. Also, make sure to introduce yourself over at the Be It Pod on Instagram. I would love to know more about you. Share this episode with whoever you think needs to hear it. Help us and others Be It Till You See It. Have an awesome day. Be It Till You See It is a production of The Bloom Podcast Network. If you want to leave us a message or a question that we might read on another episode, you can text us at +1-310-905-5534 or send a DM on Instagram @BeItPod. Brad Crowell 40:32  It's written, filmed, and recorded by your host, Lesley Logan, and me, Brad Crowell.Lesley Logan 40:37  It is transcribed, produced and edited by the epic team at Disenyo.co.Brad Crowell 40:41  Our theme music is by Ali at Apex Production Music and our branding by designer and artist, Gianfranco Cioffi.Lesley Logan 40:48  Special thanks to Melissa Solomon for creating our visuals.Brad Crowell 40:52  Also to Angelina Herico for adding all of our content to our website. And finally to Meridith Root for keeping us all on point and on time.Support this podcast at — https://redcircle.com/be-it-till-you-see-it/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this episode of the HVAC Know It All Business Edition Podcast, co-hosts Gary McCreadie and Furman Haynes of WorkHero talk with Robyn Hass, Founder and Fractional CFO of Mainstreet MEP™ by HVAC Office Solutions and Trade Finance in Ten Podcast, and Fractional MEP CFO/CHRO, FP&A and Change Management Consultant of Robyn Hass Consulting. Robyn shares her insights on managing overhead, scaling efficiently in a service business, and the importance of systems and processes in supporting growth without unnecessary expansion. Whether you're a solo operator or scaling a team, Robyn provides practical advice on reducing operational inefficiencies, improving field-to-office communication, and ensuring good financial practices.   Expect to Learn: -Strategies to control overhead as a business grows - The importance of lean processes and how to cut unnecessary complexity - Best practices for ensuring technicians stay accountable and contribute to accurate data collection - How to use data to gain insights into your business's performance and project cash flow - Advice on supporting solo contractors and small businesses - What it really takes to scale and when to keep things small   Timestamps: [00:00] - Introduction [00:59] - Managing Overhead During Growth [03:38] - Tech-to-Admin Ratio in the Field [07:02] - Importance of Field Data and Receipt Capture [08:41] - Managing Cash Flow and Invoicing Best Practices [10:07] - Training Technicians and Software Adoption [28:25] - Ongoing Training and Communication [14:17] - Supporting Solo Technicians and Small Businesses [18:54] - New Business Offerings: Bootcamps & Reporting Tools [20:43] - Final Thoughts   Follow Robyn Hass: LinkedIn: https://www.linkedin.com/in/jrobynh/ Company LinkedIn: https://www.linkedin.com/company/mainstreet-mep  Company Website: https://myhvacoffice.com/    Follow Gary McCreadie: LinkedIn: https://www.linkedin.com/in/gary-mccreadie-38217a77/  Website: https://www.hvacknowitall.com  Facebook: https://www.facebook.com/people/HVAC-Know-It-All-2/61569643061429/     Follow Furman Haynes on:  LinkedIn: https://www.linkedin.com/in/Furmanhaynes/  WorkHero: https://www.linkedin.com/company/workherohvac/  Instagram: https://www.instagram.com/hvacknowitall1/   

In this episode, Sean and Cody explain why Active Life's movement assessment deliberately avoids popular top-down screens like the overhead squat and instead relies on joint-level, bottom-up testing. Sean walks through how the assessment was originally adapted from his clinical work and why the goal is not to watch a movement fail, but to predict how a movement will fail before loading ever occurs. The conversation breaks down the real limitations of screens such as the FMS when used with general population clients and even high-level athletes. Sean explains how skilled athletes can hide massive inefficiencies through compensation, creating false confidence and false negatives, while less skilled clients may fail screens simply because of coordination rather than true joint limitations. The group clarifies the difference between identifying a problem and having a usable path forward to solve it. The episode closes by showing how simple, low-skill, repeatable joint assessments create better client understanding, stronger buy-in, and ultimately better business outcomes for coaches. By using assessments to answer specific questions instead of gathering vague information, coaches can build more durable programs, reduce unnecessary risk, and create clearer stories clients can share with others—driving both results and referrals. 

In this conversation, Tarun Agarwal draws parallels between Starbucks' business strategies and the challenges faced by dental practices. He emphasizes the importance of expanding service offerings to break through revenue ceilings and enhance patient care. By introducing new procedures, such as dental implants, practitioners can leverage existing resources and improve their practice's profitability. The discussion highlights the need for dentists to embrace growth and adapt to changing patient needs to avoid stagnation. Takeaways Starbucks' near failure teaches valuable lessons for dental practices.Many dentists feel stuck despite working harder and adding team members.Efficiency improvements alone do not lead to significant growth.Diversifying services is crucial for breaking revenue ceilings.Patients may leave for specialists offering broader menus.Testing new procedures can lead to substantial revenue increases.Committing to new categories can transform a practice's success.Overhead costs remain constant, making high-value procedures more profitable.Practices can plateau and fade if they don't adapt and grow.Growth in dentistry can be exponential with the right strategies. Titles From Coffee to Crowns: Lessons from StarbucksBreaking the Revenue Ceiling in Dental Practices sound bites "You've hit a menus ceiling.""TRT is your sandwich test.""Growth is exponential." Chapters 00:00 The Starbucks Connection: Lessons for Dental Practices02:36 Breaking Through the Revenue Ceiling05:46 The Sandwich Test: Expanding Your Offerings09:36 Going All In: Committing to New Categories13:43 Your Next Move: Embracing Growth in Dentistry Chapters (00:00:00) - How to Get Out of Trap Your Salary(00:01:19) - Dental Restorative and Preventative Procedures(00:02:34) - Why Starbucks didn't expand in 2003(00:08:40) - What Happened to Starbucks When They Stopped Testing and Went All(00:13:04) - Plastic Surgery

Forever Overhead était en vostok session le 29 janvier 2026. Le duo a créé l'EP « An Introduction to Mirages », lors d'une résidence au Tessin. Leur album, sorti chez Stone Pixels Records, nous emmène dans une pop-folk planante. >>>>>>>>A écouter aussi ici leur interview juste avant leur vostok session – Concert […] The post Forever Overhead en vostok session first appeared on Radio Vostok.

Today, we will study an overview of the Lenten Season in one session. Overhead 1: LENTEN-2026-Adult-Bible-Studies.pdf –Michael D. Henson, Pastor of Trinity Lutheran Church (Herrin, IL). https://vimeo.com/1163024736?share=copy&fl=sv&fe=ci  

Law Firm Accounting - Advanced Client Costs vs Overhead U.S. law firm owner doing $300k–$2M/year? Get a free Law Firm Profit & Tax Checkup where I review your books and tax setup and highlight a few ways similar firms are keeping more of what they earn. Book your checkup here: https://bigbirdaccounting.com

Gregg Goldfarb is a veteran mass tort and PI attorney with over 30 years of experience, host of the Cut to the Chase podcast, and a master of building a lean practice that thrives in today's competitive legal landscape. In this episode, Gregg shares the lessons of running a lean and highly adaptable practice. By outsourcing nearly everything, focusing on targeted case acquisition, and diversifying his portfolio, he's found a smarter way to fight corporate giants—and win. Listen to the full episode with Gregg Goldfarb on Personal Injury Mastermind, powered by Rankings.io, below: Spotify Apple Podcasts Watch the Episodes On YouTube Gregg Goldfarb, LLP Website | LinkedIn If you like what you hear, hit subscribe. We do this every week. Get Social! Personal Injury Mastermind (PIM) powered by Rankings.io is on Instagram | YouTube | TikTok

In todays Q and A we hit on 1-What does it truly mean to be all in?2- What are safe ways to get overhead training without using the typical olympic lifts or pressing movements3 How you draw the line with athletes on building relationships and being too friendly?Sports AdvantEdge is now adding more schools for consulting.FIRE IT! We are changing the game in the state of Wisconsin.If you enjoy the podcast please share it with your athletes- teachers- parents and other coaches. Help us grow our GET YOUR EDGE community!#chop-itGET YOUR EDGE PODCASTInstagram and Twitter- @getyouredgepodDean Contactwww.foxvalleythrowsclub.comInstagram and Twitter- @foxvalleythrowsBrian Contactwww.sportsadvantedge.comInstagram- @sportsadvantedgeverona / @brianbott23Twitter- @botter23 / @sportadvantedgeGraphics and Logo- Bailey MarashInstagram and Twitter- @bmarasch13

for 101 free kettlebell workouts go to http://www.101kettlebellworkouts.com 

Matt welcomes Producer /engineer/mixer and film composer Sanford Parker. As an artist he's performed and released albums with extreme heavy and industrial bands like Black Cross Hotel, Corrections House, Mirrors for Psychic Warfare and Minsk. Throughout the years he's collaborated with members of Sonic Youth, Ministry, Napalm Death and Neurosis as well as producing and mixing albums for Darkthrone, Voivod, Brutal Truth, Pelican, YOB, Hide, Youth Code, Wovenhand, Rwake, Local H and many others. TakeawaysSanford opened his studio in March 2020, just before the pandemic.He prefers working with independent artists and punk music.Chicago's music scene is affordable compared to other major cities.Managing overhead is crucial for running a successful studio.Sanford transitioned to mixing in the box for efficiency.He values genuine relationships with artists over bureaucracy.The pandemic shifted his work focus back to mixing.The flexibility of working remotely with clients.Learning to navigate financial discussions with bands.Independent music often allows for quicker decision-making.Links and Show Notes:Sanford's SiteMatt's Rant: Your JourneyCredits:Guest: Sanford ParkerHost/Engineer/Producer: Matt BoudreauWCA Theme Music: Cliff TruesdellThe Voice: Chuck Smith

Download your workbook here → https://bit.ly/p-finance-in-february-workbook For studio owners, this episode breaks down the only financial numbers that actually matter to run a profitable business. If your Profit & Loss stresses you out or you avoid your numbers altogether, this episode will change how you think about money in your business. → Want to scale your studio and generate more leads? https://bit.ly/4kZSlya → Want proven systems to grow without burnout? https://bit.ly/44XoX5w Most studio owners aren't bad with money - they're just looking at the wrong numbers. If opening your Profit & Loss statement makes you feel confused, overwhelmed, or like you “should probably talk to your accountant one day”… this episode is for you. This is Episode 1 of our 4-part Finance February series on the Geronimo Unfiltered podcast. Across this series, we're breaking down financial literacy for studio owners in plain English - no spreadsheets, no shame and no accounting degree required. In this episode, we lay the foundation. If you don't understand this part, everything else feels harder than it needs to be.By the end of this episode, you'll be able to: • Stop saying “I'm bad with numbers” and start saying “I just didn't know what to look at” • Understand the difference between revenue, profit and cash (and why revenue is vanity) • Read a Profit & Loss statement without panic • Identify the only numbers that actually matter in a studio business • Know what a financially healthy studio actually looks like • Understand simple ratio benchmarks for labour, rent, overheads and profit • Spot the two biggest profit killers for studio owners: overspending on If you want this episode to actually change your business, don't skip this part. After listening ... here's your homework: 1) Ask your accountant for your last 12 months of Profit & Loss (or log into your accounting software and find it yourself) 2) Calculate your current ratios: - Labour as a percentage of revenue - Rent as a percentage of revenue - Total overheads - Operating profit 3) Compare your numbers to the benchmarks discussed in this episode 4) Bonus power move: ask your accountant to clean up your chart of accounts so your P&L is easy to understand at a glance. This episode kicks off Finance February. In Episode 2, we'll map out budgeting and forecasting - without overwhelm. Don't forget to like, subscribe, and comment below with your biggest takeaway. We read them all. Connect with us: My website: ⁠https://thegeronimoacademy.com ⁠ IG Geronimo: ⁠https://www.instagram.com/thegeronimoacademy⁠ IG Hey.Doza: ⁠https://www.instagram.com/hey.doza⁠ LinkedIn: ⁠https://au.linkedin.com/in/andrewhandosa⁠ Chapters: 00:00 – Welcome to Finance February 01:45 – Why studio owners avoid their numbers 04:55 – “I'm bad with numbers” (and why that's not true) 07:10 – Revenue vs profit vs cash 11:30 – Breaking down a P&L in plain English 14:20 – What counts as direct labour 18:45 – Labour cost benchmarks (and common mistakes) 23:10 – Rent benchmarks and lease red flags 27:05 – Overheads: what matters and what doesn't 31:45 – What healthy profit actually looks like 35:20 – The two biggest profit killers 38:50 – Homework & what's coming next

The sounds of a vibrant city, dulled by walls and distance, resound through a warmly lit apartment. Overhead, outside the window, a neon advertisement blinks, rain slides down the windows and the sounds of neighbors bleed in through walls while distant sirens blare attending unknown calls.Download the White Noise App for continuous playback.

Marketing costs can easily drift without clear benchmarks, clear goals, or reliable data. In this episode, Kirk Behrendt continues the Metric Monday series with practice coach Ariel Siegel to break down marketing percentage as part of overall overhead. They explain what marketing percentage actually measures, why the benchmark matters, how internal and external marketing must align, and how to evaluate return on investment using real practice data. If you want to understand how much you should be spending on marketing and how to know whether it's working, listen to Episode 1003 of The Best Practices Show!Main TakeawaysMarketing percentage measures the total percentage of revenue spent on both internal and external marketing efforts.The general benchmark for marketing spend is around 3%, depending on whether a practice is in growth or maintenance mode.Effective marketing fuels new patient growth while also strengthening the practice brand.Internal marketing systems and patient experience must align with external marketing efforts.Tracking return on investment requires comparing marketing spend to new patient numbers and resulting production.High marketing spend without strong systems can result in poor conversions and wasted dollars.Snippets00:56 What marketing percentage measures01:44 The 3% benchmark and why it varies03:07 How marketing impacts new patient growth and branding04:22 Why more new patients is not always better06:52 Using ROI to evaluate marketing effectiveness08:12 How to respond when marketing percentage is too high10:03 Using call and conversion data to diagnose marketing performance11:34 Final Thoughts on Marketing StrategiesGuest Bio/Guest ResourcesAriel has a master's in healthcare administration and several years of dental experience in all aspects of the administrative roles within the dental office. Her passion is to work with dental teams to empower team members to realize their full potential in order to better serve patients, improve office systems to ensure a well-functioning team/office, and to help everyone have fun in the process!More Helpful Links for a Better Practice & a Better Life:The Best Practices Show: https://www.actdental.com/podcast/Best Practices Association: https://www.actdental.com/bpaUpcoming Events & Workshops: https://www.actdental.com/events/Smile Source: https://www.smilesource.com/

Le duo Forever Overhead était en interview dans nos studios avant leur vostok session du 29 janvier 2026. Les frères et soeurs nous parlent de leur sortie d'EP « An introduction to mirages ». The post Interview Forever Overhead first appeared on Radio Vostok.

Le duo Forever Overhead était en interview dans nos studios avant leur vostok session du 29 janvier 2026. Les frères et soeurs nous parlent de leur sortie d'EP « An introduction to mirages ». The post Interview Forever Overhead first appeared on Radio Vostok.

Today, we will study an overview of the Gesima Season in one session. Overhead 1: GESIMA-2026-Adult-Bible-Studies.pdf –Michael D. Henson, Pastor of Trinity Lutheran Church (Herrin, IL). https://vimeo.com/1155713733?share=copy&fl=sv&fe=ci

Can trimming overhead expenses open the door to lasting patient relationships and steady, meaningful growth in your practice?In this interview, Dr. Andy Brito shows us the secrets behind his steady growth at Brito Family Dental: a beloved, family-run practice serving South Boston. From day one, Dr. Brito prioritized low overhead and resource efficiency, opting for conservative treatment plans that build trust and keep patient costs accessible. His approach to dentistry goes beyond filling cavities; it's about forging relationships, earning loyalty, and upholding the highest standards through constant growth and learning. With over $200,000 invested in continuing education, he has continually raised the bar for clinical skills, bringing advanced procedures like full-arch surgeries and implants to his patients while keeping prices fair.Dr. Brito doesn't just rely on clinical excellence to set his practice apart. He shares the marketing strategies (successful and not-so-successful) that helped Brito Family Dental build its reputation, from tapping into his Portuguese heritage to connect with the local Brazilian community, to refining Google Ad targeting for quality patient leads. Bringing lab work in-house has slashed costs and enhanced service quality, reinforcing his commitment to efficiency without sacrificing care. For Dr. Brito, growth isn't about getting bigger; it's about staying agile, keeping a close-knit team, and heeding the lessons learned along the way.What You'll Learn in This Episode:How managing overhead can strengthen patient relationships and grow your practiceTips for maximizing the impact of continuing education in dentistryThe real-world impact of introducing an in-house dental labMarketing wins and misses: from targeted online ads to cultural community outreachWhy staying small and agile can outperform rapid expansionLessons on cost-saving without sacrificing qualitySmart ways to vet marketing investments early onKey advice for new and established dentists seeking sustainable growthHit play now to discover how Dr. Brito's practice continues to grow sustainably in a highly competitive scene!‍Sponsors:‍Net32: Founded by a dentist, for dentists. Net32 is the leading online marketplace for dental supplies, helping dental and medical professionals save on high-quality products for over 25 years. Start saving today at: https://www.net32.com/dentalmarketerGuest: Dr. Andy BritoPractice Name: Brito Family DentalCheck out Andy's Media:‍Website: https://britofamilydental.com/Email: andybrito3@gmail.com‍Host: Michael AriasJoin my newsletter: https://thedentalmarketer.lpages.co/newsletter/‍Join this podcast's Facebook Group: The Dental Marketer Society‍Love the Podcast? Let Us Know How We're Doing on Apple Podcasts!

In this episode, you'll learn how nonprofits are really rated—and why the sector's obsession with overhead could finally be ending. Charity Navigator CEO Michael Thatcher joins host Rusty Stahl to explain how nonprofit ratings are shifting toward impact, leadership, and organizational health—and why investing in people matters more than lean budgets. In a candid moment, Thatcher hints at a future where overhead is no longer part of Charity Navigator's ratings formula, signaling a potentially major change in how nonprofits are judged. Listen in, spread the word, and become part of the shift.Download the episode transcriptGuest Bio:Michael leads Charity Navigator in its efforts to make impactful philanthropy easier for all by increasing the breadth and depth of evaluation methodologies to facilitate ratings coverage of substantially larger numbers of charities and expand how the information engages new and existing audiences. Prior to joining Charity Navigator Michael spent more than fifteen years with Microsoft, the last ten of which, as their Public-Sector Chief Technology Officer responsible for technology policy initiatives and engagements with governments and academic leaders in Asia, the Middle-East and Africa. Michael's eclectic background includes years at sea conducting oceanographic research with Woods Hole Oceanographic Institution, composing music and dancing internationally as the co-founder and co-director of Dance Music Light. He has held various board positions within the nonprofit and tech sector, holds several patents in enterprise systems management and has a degree in Music from Columbia University in New York.Links to Resources:Organizations & WebsitesCharity Navigator — ⁠https://www.charitynavigator.org⁠Charity Navigator Nonprofit Portal (Claim Your Profile / Submit Data) — ⁠https://www.charitynavigator.org/portal⁠Fund the People — ⁠https://fundthepeople.org⁠Fund the People Podcast — https://apple.co/3iDT21T ⁠Fund the People Podcast Premium on Patreon — ⁠https://www.patreon.com/fundthepeople⁠Candid (formerly GuideStar & Foundation Center) — ⁠https://candid.org⁠BBB Wise Giving Alliance — ⁠https://www.give.org⁠Overhead Myth Open Letter to America's Donors from FTP's research archives (2013) — https://drive.google.com/file/d/0BwddBi7Cib_xMHpyRXd6WGpFREU/view?usp=sharing&resourcekey=0-ZFQ-F9JdQ0v3O1buOgFhXQ Overhead Myth Letter to America's Nonprofits from FTP's research archive (2014) — https://drive.google.com/file/d/0BwddBi7Cib_xcy0wbEhmRGJtZUU/view?usp=sharing&resourcekey=0-N9yoZdjKvoRuPX-SDTZwtwFunding for Real Change (resource-rich website based on BDO's research on improving funding for indirect costs) — ⁠https://www.fundingforrealchange.com/ Concepts, Research & Sector InitiativesMacArthur Foundation — ⁠https://www.macfound.org⁠Staff Operating Support article in The Nonprofit Quarterly - by Rusty Stahl (Fund the People) — ⁠ https://bit.ly/NonprofitsNeedSOSPodcasts ReferencedFund the People Podcast brief bonus episode announcing the Staff Operating Support (SOS) funding concept — ⁠https://podcasts.apple.com/us/podcast/introducing-staff-operating-support-s-o-s-grants-concept/id1531813289?i=1000735122772Fund the People Podcast episode featuring John Palfrey (CEO of MacArthur Foundation) — https://podcasts.apple.com/us/podcast/macarthur-president-chooses-courage-not-quiet/id1531813289?i=1000712429747 NGO Soul + Strategy Podcast episode featuring Michael Thatcher — https://podcasts.apple.com/us/podcast/051-charity-navigators-changing-expectations-and-its/id1498390711?i=1000598151900Thinkers & Influential Voices MentionedDan Pallotta — ⁠https://danpallotta.com⁠ Simon Sinek — ⁠https://simonsinek.com⁠LinkedIn — ⁠https://www.linkedin.com/company/charity-navigator⁠Instagram — ⁠https://www.instagram.com/charitynavigator ⁠Facebook — ⁠https://www.facebook.com/CharityNavigator⁠ X (Twitter) — ⁠https://x.com/charitynav⁠Tik Tok — ⁠https://www.tiktok.com/@charitynavigator⁠

Choose your fighter! Or, just laugh along with Vinnie.

The Future is Here: While most are debating the ethics of AI Glenn Grant is it to rebuild his business from the ground up. In this season premiere, we explore how Glenn has automated the "boring bits" to focus purely on creativity.• The 60% Reduction: Discover the exact framework Glenn uses to reduce business overheads and why Commercial Photography delivery times are shrinking from weeks to hours.• The "Invisible" Editing Step: We reveal a critical stage in the post-production process that most photographers are completely ignoring—and how AI handles this high-value task in seconds.• The Ethical Blueprint: How to use real models and real products with AI composition to achieve "picture-perfect" results without losing your creative soul.⁠⁠Download the free guide to Marketing and Creativity here

When overhead is high, you buy cheaper supplies. But there's a better way! In this episode, Kirk Behrendt brings back Ariel Siegel, one of ACT's amazing coaches, to continue the series on overhead and break down supplies percentage. She shares why your numbers may be high, how that impacts your practice, and what you can do about it. For the treatment plan to reduce waste and overspending on supplies, listen to Episode 1000 of The Best Practices Show!Learn More About Ariel:Send Ariel an email: ariel@actdental.com Follow Ariel on ACT's Instagram: https://www.instagram.com/actdentalSend Courtney an email to learn more about ACT: courtney@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:...

Overhead a red-tailed hawk soars, on quiet summer days when the lake is empty.  

Recorded live from VoD 2026 in Gilbert, Arizona Alan is joined by Jay Glazer from Crazy Dental to tackle the rising costs of running a dental practice. Together, they dismantle the outdated model of relying on sales reps and "special" pricing lists, advocating instead for the transparency and efficiency of online ordering. Jay shares his philosophy on overhead control using the "14-dollar milkshake" analogy, illustrating how small savings on supplies can compound into massive wealth over time. Tune in to learn how to ditch the donuts, stop overpaying for the same products, and utilize exclusive promo codes to slash your overhead immediately. Some links from the show: Crazy Dental use VERYSHIP for free shipping or VERYDENTAL10 for 10% off of your first order! Join the Very Dental Facebook Group using one of these passwords: Timmerman, Bioclear, 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! I'm a big fan of the Bioclear Method! I think you should give it a try and I've got a great offer to help you get on board! Use the exclusive Very Dental Podcast code VERYDENTAL8TON for 15% OFF your total Bioclear purchase, including Core Anterior and Posterior Four day courses, Black Triangle Certification, and all Bioclear products. 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 "VERYSHIP" you'll get free shipping on 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 demonstration showcases a real-time location solution developed in partnership with Keonn, featuring an overhead reader that provides retailers with near real-time inventory snapshots throughout the day. The technology captures both inventory and location data within stores, with accuracy to within a couple of meters. Each overhead device covers approximately 350 square feet and automates traditional handheld processes like replenishment, inventory cycle counting, and product search. The solution is positioned as an exciting automation opportunity for retailers looking to advance their RFID implementation journey.

Today we are joined by Carla and Joe Policastro of Cycle CPA to talk about forecasting revenue and overhead from their 2-day virtual event that they held.Sponsors:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Cycle CPA⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

Dave Jones is joined by Jamie Carragher and Thierry Henry who analyse the 1-1 draw between Brighton and Bournemouth at the Amex Stadium. Substitute Charalampos Kostoulas rescued a point for the hosts with an injury-time overhead kick and gave his reaction alongside Lewis Dunk after the match. We also get the views of both managers, Fabian Hurzeler and Andoni Iraola.In the final part of the show, Carra and Henry discuss who they feel would be the ideal candidates for both the Manchester United and Real Madrid manager positions.Listen to every episode of the Sky Sports Premier League Podcast here: skysports.com/sky-sports-premier-league-podcastYou can listen to the Sky Sports Premier League Podcast on your smart speaker by saying "ask Global Player to play the Sky Sports Premier League Podcast".For all the latest football news, head to skysports.com/premier-leagueFor advertising opportunities email: skysportspodcasts@sky.uk

Live from Dubai with Scott Helme! My Changing View on Sponsorships; Scott on Moving to Dubai; On the Overhead of Support https://www.troyhunt.com/weekly-update-485/See omnystudio.com/listener for privacy information.

Are your lab costs a little too high? In this episode, Kirk Behrendt brings back Robyn Theisen, one of ACT's amazing coaches, to continue the series on overhead and break down lab percentage. They explain what it is, how it impacts your practice, and what to do to maintain a healthy lab percentage. To learn how to lower your lab costs the smart way, listen to Episode 991 of The Best Practices Show!Learn More About Robyn:Send Robyn an email: robyn@actdental.com Follow Robyn on ACT's Instagram: https://www.instagram.com/actdentalSend Courtney an email to learn more about ACT: courtney@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:

A good news story in recent years is the amount of progress Community Land Trusts (CLTs) have made in communities across the country. New CLTs are being established, and existing ones are winning by-in from various levels of government, as well as buying up land to preserve as affordable housing in perpetuity, sheltering units from the runaway, unaffordable housing market. Often, CLTs preserve often overlooked and stigmatized housing such as rooming houses and single room occupancy hotels. Joshua Barndt is executive director of the Parkdale Neighbourhood Land Trust (PNLT) in Toronto, one of the first CLTs to rekindle this model in Canada. First, the PNLT was able to acquire property for affordable housing, then the City of Toronto created the Multi-Unit Residential Acquisition program (MURA) to help create CLTs across Toronto. We asked Joshua what is needed to scale up, and out, and replicate for other communities. Norm Leech is the president of the Downtown Eastside Community Land Trust. They're just begging their mission in Vancouver's famously impoverished downtown. Norm tells us how this CLT uses a decolonized governance structure, co-led by Indigenous peoples, and with tenant-led programming. How can we help communities secure affordable housing for their neighbours?

Rent and equipment is a huge part of overhead. But there are other costs hidden in those categories! In this episode, Kirk Behrendt brings back Robyn Theisen, one of ACT's amazing coaches, to continue the series on overhead and break down facilities and equipment percentage. To find out where else your money is being spent and how you can improve your overhead, listen to Episode 988 of The Best Practices Show!Learn More About Robyn:Send Robyn an email: robyn@actdental.comFollow Robyn on ACT's Instagram: https://www.instagram.com/actdentalSend Courtney an email to learn more about ACT: courtney@actdental.comSend Gina an email to learn more about ACT: gina@actdental.comMore 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

MAPS 15 Powerlift The importance of the Big 3. (1:31) Don't fall for the trap of looking like one of these top athletes. (4:10) Who this program is for. (7:58) Breaking down MAPS 15 Powerlift and what you will get following this style of programming. (9:00) Strengthening weak links and achieving PR's. (14:11) The next BIG trend is short/daily workouts. (16:21) Related Links/Products Mentioned MAPS 15 Powerlift 50% half from Dec. 21-27th. Code DECEMBER50 at checkout. Visit Legion Athletics for the exclusive offer for Mind Pump listeners! ** Code MINDPUMP Buy one, get one 50% off for new customers, and 20% cash back for returning customers! ** Mind Pump Store Justin's Road to 315 Push Press Mind Pump #1152: Why You Should Powerlift Mind Pump Podcast – YouTube Mind Pump Free Resources  

You buy cheaper cotton rolls and the cheapest gloves. But your operational overhead is still too high! In this episode, Kirk Behrendt brings back Miranda Beeson, ACT's director of education, to continue the series on overhead and break down operations percentage. Buying cheap supplies won't help your practice! To learn about the hidden costs that are impacting your overhead, listen to Episode 985 of The Best Practices Show!Learn More About Miranda:Send Miranda an email: miranda@actdental.comFollow Miranda on ACT's Instagram: https://www.instagram.com/actdentalSend Gina an email to learn more about ACT: gina@actdental.comMore 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:

Attorney Sara Papantonio joins host Mirena Umizaj Dumas for a candid conversation about what mass tort work truly demands. From long timelines and real risk to the relationships that ultimately determine outcomes, Sara shares how she found her path into mass torts, what it has been like building her own name while working alongside her father, Mike Papantonio, and what she learned stepping into an eight-week talc trial on short notice that resulted in a major plaintiff verdict. They also discuss how firms should think about entering and navigating the mass tort landscape, the importance of understanding the "rules of the game," why diversification matters, and how pressure points across MDL and state court strategies shape outcomes. Throughout the conversation, Sara and Mirena emphasize the role of judgment, partnership, and long-term thinking, as well as how technology and AI are being used to support, not replace, thoughtful legal work. Key Topics Covered: • Why mass torts require a long-term, 7–10 year mindset • The unwritten rules of the mass tort space and why firms get burned • How to evaluate risk, partnerships, and involvement level before entering a case • MDL versus state court strategies and where real pressure is applied • The value of a fresh perspective in trial storytelling and jury communication • Recruiting, developing, and retaining young plaintiff-side talent • Practical ways technology and AI are improving efficiency without replacing judgment About Our Guest: Sara Papantonio is an attorney at Levin Papantonio, where she focuses her practice on mass tort litigation. She earned her Bachelor of Science in Political Science and Journalism from the University of North Carolina and her Juris Doctor from Stetson University College of Law in 2020, graduating cum laude. Sara litigates pharmaceutical, environmental, mass tort, and personal injury cases nationwide and has significant federal court experience as an active member of multiple mass tort litigation teams. She is currently working on the Camp Lejeune litigation and the Infant Formula MDL. She is a frequent CLE speaker, including at Mass Torts Made Perfect and Harris Martin Conferences, and is published in legal journals across the country. Sara served as the 2024 President of National Trial Lawyers 40 Under 40 and represents Florida as a Board of Governor for the American Association for Justice. She also serves on the Board of Governors for the Florida Justice Association, including as the 2024 Chair of the Young Lawyers Section.

PREVIEW Guest: Chris Riegel. Riegel analyzes the "K economy," where lower-tier consumers are spending less at quick-service restaurants due to high overhead and inflation. With brands reintroducing value products and people eating at home, Riegel questions if this spending drop will negatively impact Christmas retail sales and future liquidity. 1905 BUTTE MONTANA

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...

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

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

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

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!