Podcasts about phenomenal

Great Podcast with my friends from House In The Woods Jeff Shock and Jason Seavey. Jason, an Air Force Veteran originally from Maine and now planted in the Fox Valley with his wife, and Jeff proud volunteer and guide are gearing up for Sturgeon Spearing opener this weekend. They've got 13 veterans from across Wisconsin coming in to try their luck on the ice. That's what it's about camaraderie, purpose, and the outdoors. In 2023, I traveled to Maine and had a successful bear hunt with them. Firsthand experience: this organization is the real deal. Phenomenal mission. Real impact.

Jason Hull, the founder and CEO of DoorGrow, discusses with Ashton Thomas the concept of marrying private equity with property management operations. Ashton Thomas is a third-generation real estate broker in Central Florida, she got her real estate license right after graduating high school and, in February 2019, opened her own brokerage. She decided to start her own brokerage and grew to about 25 agents, but she realized she preferred property management and did not like dealing with realtors and their recurring issues, and shifted her focus after property management "fell into her lap" when employees from a failing company approached her You'll Learn (00:45) Introduction and Ashton Thomas's Background  (03:46) The Audacity to Start a Brokerage at 23  (07:16) The Marriage of Private Equity and Property Management  (07:42) Benjamin Hardy's "Science of Scaling"  (12:31) Understanding Private Equity and the Roll Up Strategy  (17:58) The Advantage of Property Managers in Roll Ups  (19:10) Advice for Getting into Private Equity  (22:29) Raising Capital and How to Connect with Ashton Thomas Quotables "I've been thinking too small. That's why it's been so hard." "That's like entrepreneurs worst nightmare is to be feeling stuck and feeling like I'm not moving and I'm not getting traction and I'm not accomplishing anything." "The slowest, absolute slowest path to growth is to do it alone." Resources DoorGrow and Scale Mastermind DoorGrow Academy DoorGrow on YouTube DoorGrowClub DoorGrowLive Transcript Jason Hull (00:00) All right, five, four, three, two, one. Hello everybody, I'm Jason Hull, the founder and CEO of DoorGrow, the world's leading and most comprehensive coaching and consulting firm for long-term residential property management entrepreneurs. For over a decade and a half, we've brought innovative strategies and optimization to the property management industry. At DoorGrow, we are on a mission to transform property management business owners and their businesses. We want to transform the industry.   eliminate the BS, build awareness, change perception, expand the market, and help the best property management entrepreneurs win. Now, let's get into the show. All right, so my guest today is Ashton Thomas. Welcome, Ashton. Ashton (00:43) Thank you for having me. Jason Hull (00:45) So Ashton is a client of ours, but she also is a badass. And so Ashen, I would love for people to get to know you a little bit, share a little bit of your background. How did you get into real estate and property management and all of this?   Ashton (01:02) Yeah, absolutely. So I'm actually a third generation real estate broker in central Florida. My granddad started in Orlando like way back in the 60s. ⁓ Both my dad and my granddad, a lot of my uncles, they're all builders. So just kind of grew up in that real estate world. I was on a job site from when I was very little. ⁓ And so I always just had a love for homes, real estate, just   the whole nine years. When I was wrapping up high school about to go to college, my parents suggested, I always had like an entrepreneurial spirit, and my parents suggested that I get my real estate license. And I was like, you know what, it can't hurt to have that. So I went ahead and took the class, got the licensing as soon as I graduated high school. So I was actually a licensed realtor already working before I started my freshman year of   college. ⁓ Real estate has been so fascinating because I've been able to see so many changes over the last 12 years since I got into the industry. I started with new home sales construction, actually working for my parents, ⁓ really learned about what it took to run a sales center. And then I switched to traditional real estate, like what you think of a realtor doing now. ⁓ From there, I ended up opening my own brokerage.   Jason Hull (02:03) Wow.   Ashton (02:28) ⁓ in February of 2019. And then property management really just fell into my lap. There was a company that was going out of business because the owner was embezzling funds. And their employees actually came to me and said, you know, we would like to work with you. We'd like to work for you. And we're bringing these clients. So   I had never written a lease, seen, really even put my eyes or hands on a lease, never. This was two years ago, roughly. ⁓ And like just didn't have any property management experience at all. Figured out that we needed to get some systems in place right out of the gate. And I really took the next year, year and a half.   Jason Hull (02:59) how long ago.   Okay.   Ashton (03:22) to develop those. And Jason, you've been so instrumental in helping us succeed in those systems. You helped us identify the holes in our business and really figure out what we needed to do. ⁓ So at the time that I had brought on the property management side, and when I say property management for us, we do both long-term property management and short-term vacation rental. So I two separate sister companies that operate.   Jason Hull (03:51) Yeah.   Ashton (03:51) So ⁓ at the time I had roughly about 25 realtors that worked for me under the brokerage. I had really developed that, grown that. We were one of the largest Zillow Premier agent teams in central Florida at that time.   Jason Hull (04:13) Wait, can I ask you question about that?   Not very many agents start their own brokerage. What? mean, how, do you mind me asking age here? How old were you you started your brokerage and what gave you the audacity to decide to do this big thing?   Ashton (04:19) Mm-hmm.   I was 23 when I started my brokerage and the funny part was is I actually wanted to buy a brokerage first and I had this is a wild story you'll love this so you know you look back and you say what was I thinking like I had some guts and one of those stories   Jason Hull (04:33) Okay, go ahead.   Okay.   Okay.   Yeah   Ashton (04:55) So I had initially gone to this guy's office, he had four branches, local real estate agent, or a local real estate brokerage. I'd ⁓ developed his brokerage over like 50 years, had over 200 agents working for him. And I walk in and I asked to speak with the broker. He was there, they put me in the conference room. He thought that I wanted to become an agent working for him. Yeah. And I said, no, sir, I want to buy your company.   Jason Hull (05:19) That's the default.   my god.   Ashton (05:25) And   like, this was a total cold call. Like I had never talked with him before, never met him before. I ended up negotiating a price for the company ended up getting securing SBA financing. Everything had lined up so perfectly. And then a couple of weeks before we were actually going to be making it official. He decided that he wanted to, to sell his brokerage to a family member and not go through with me. And so.   Jason Hull (05:53) Wow.   Ashton (05:55) Honestly, in hindsight, that was the best thing that could have happened. I had no business running that large of a brokerage at 23 years old with no experience. ⁓ Over 200. Yeah. And I had secured a price for 2.4 million for the company. So with an earn out and it was just, it was going to be an insane deal if I could have like actually done that. But ⁓ I was   Jason Hull (06:05) How large was it? How many Asians? Okay, yeah, I mean massive, yeah.   Ashton (06:24) You know, everything happens for a reason. coming off of like the adrenaline rush from that not happening, I was like, you know what? I'm just going to start my own. Why not? So that's how I started when I was 23.   Jason Hull (06:26) Yeah.   Yeah.   I mean,   starting your own brokerage at 23 doesn't sound as crazy if you were already trying to buy 200 agent brokerage. Like, I'll just, you know, step it back a little bit.   Ashton (06:49) Mm-hmm.   Yes,   let's like crawl before we run. Oh, so that was originally what I wanted to do was just build up a massive, brokerage with lots of agents. And I thought that in my head was the dream. No, for me, it was not. I had grown to about 25 agents, like roughly like steadily and kept that number for a while. I realized that I   Jason Hull (06:56) Yeah. ⁓   Yeah.   Mm-hmm.   Ashton (07:21) to not like dealing with realtors and their issues over and over and over again, every day in and day out. It became like kind of toxic to me at least. And I went through and slashed a lot of agents jobs here ⁓ because it was either performance issues, attitude issues, whatever it was, they just were not the right fit for us. I ended up keeping a core five. ⁓   Jason Hull (07:32) Yeah.   Ashton (07:47) and they are phenomenal people with good ethics and good business sense who care about their clients and represent me and my company very, very well.   Jason Hull (07:58) What do feel like gave you the clarity to make that transition? Like, did you just wake up one morning or like, I don't like a lot of these people? Or how did you get clarity on what you really want?   Ashton (08:09) ⁓ One of the things was I told my office manager, I was so frustrated one morning, I told her, said, if one more person asks me another stupid question, I am gonna lose my mind. So I was fed up, I just couldn't deal with it anymore.   Jason Hull (08:23) Okay, we're just fed up.   Yeah, yeah. So I know when, when did that fit with you joining DoorGrow? Because I know you had worked on culture and we'd helped you figure out kind of what mattered to you and like, that align with, was that before you came on board? Was that after? When did you let go of all the... Okay. You don't move slow on anything, it sounds like.   Ashton (08:45) I don't want the same time. Yeah.   I try not to. I try not to. Honestly, I feel like that's where things go to die is if you move slow.   Jason Hull (08:57) Got it, yeah, right. Okay, cool, quick action taker. So obviously a very driven personality type. ⁓ And I know the topic that we were planning to talk about today is the marriage of private equity and property management, capital meets operations. So let's get into that. Again, you have big goals, big crazy goals.   Ashton (09:05) Thank you.   Yes.   Jason Hull (09:27) that sound pretty insane to most people. But you know, the people that are bold, that have the audacity to go after these big things, achieve big things. So what are you up to now?   Ashton (09:39) Yeah, so there's actually a great book by Dr. Benjamin Hardy. He has he's written like several and I know you're a big fan of Dr. Hardy's as well. He talks about like those impossible goals and how you really should and actually that one of his latest books, The Science of Scaling, is ⁓ really spurred me to action and not just having like a 10 year time frame, but like a three year time frame. And I can condense these goals.   what I want to do kind of vaguely into really specifics and get it done now. ⁓ So yeah, I would highly recommend anybody listening to also read his books.   Jason Hull (10:20) Yeah, agreed. Phenomenal book. I got to hear him speak down in Mexico and he hadn't released his book yet. And I was with a bunch of entrepreneurs that spent a lot of money to be there. And he all just walked out of the room with their mind blown. We were all just like, ⁓ I've been thinking too small. That's why it's been so hard. And it actually gets easier to grow and scale your business when you start thinking outside of your current mental limitations, which means it has to be something unrealistic or impossible.   Ashton (10:36) Mm-hmm.   Jason Hull (10:49) So that's been a game changer. I've done some episodes talking about this, but same thing for us. Like we've got some big things we're doing this year that are probably a bit ridiculous. And I don't know if we can pull it off, but if we do, DoorGrow will be the dominant player in the industry. And I already feel like we're a leader or leader, but this will be a game changer, some of the stuff that we have planned. And I've talked about it on previous episodes, just a little bit, what we're thinking of doing.   But I think it's going to be some of these things are going to be game changer. and we've got so many irons in the fire right now, like we move fast and it's bit crazy, but that's where the fun is too, right? In business. So I'd rather be lit on fire with too many ideas than be stuck. And I've been that way before where I'm like, what should I do next? know, I work on.   Ashton (11:35) That's like   entrepreneurs worst nightmare is to be feeling stuck and feeling like I'm not moving and I'm not getting traction and I'm not accomplishing anything. That is like absolute hell for us, isn't it?   Jason Hull (11:45) Yeah.   Yeah, I usually joke that entrepreneurs don't care about being happy or sad. They care about whether they're in momentum or whether they're stuck. And when we're stuck, damned, blocked, frustrated, that is hell. That's like, that's hell for us. We're miserable. And yeah, and it kills our motivation, everything. But when we're in momentum, that's the drug we crave. We want to feel like we're making progress and moving forward. And so   I'm that drug dealer. That's what I give out to clients. Like I'm like, let's go. That's hopium. So got to give them some hope. And then they're excited and believe they can do it. But yeah, if you believe you can do something big and you've got a big vision, a big dream, yeah, you start to find new pathways. You start to find new ideas. And so you're working on some crazy stuff. So let's talk about capital meets operations. How do we marry private equity with property management? And could other property managers do this?   Ashton (12:21) You do.   Jason Hull (12:47) excited to hear.   Ashton (12:47) Yeah,   absolutely. So I started in the private equity world really recently. It was like January of this year. And I feel like I've just been drinking out of a fire hose, like learning and being in, I've just made sure to put myself in the right rooms where I'm just like absorbing knowledge and information and wisdom from people and family offices that have been doing this so much longer than I.   Jason Hull (13:13) You've been really focused on learning the private equity space, which a lot of people, that's like some crazy thing they don't really maybe even understand. They're like, oh, don't know how it works. And you decided, hey, want get in on this.   Ashton (13:25) Yeah. ⁓ go   ahead. What was that?   Jason Hull (13:30) You said, I want to get in on this and learn about this and started figuring it out. All right, I'm going to plug our sponsor real quick, who you use, Vendoroo. How's it going with Vendoroo?   Ashton (13:33) Yes. ⁓   And here's amazing. We love them. They they honestly they take care of everything. They're really good about communication. I think they're they're phenomenal. They've been a game changer for us for our day to day ops.   Jason Hull (13:54) Okay, cool. I mean, it's So let me read this and then we'll get back into the show. So many of you tell me that maintenance is probably the least enjoyable part of being a property manager and definitely the most time consuming. But what if you could cut that workload by up to 85 percent? That's exactly what Vendero has achieved. They've leveraged cutting edge AI technology to handle nearly all of your maintenance tasks from initiating work orders and troubleshooting to coordinating with vendors and reporting.   This AI doesn't just automate, it becomes your ideal employee, learning your preferences and executing tasks flawlessly, never needing a day off and never quitting. This frees you up to focus on the critical tasks that really move the needle for your business, whether that's refining operations, expanding your portfolio, or even just taking a well-deserved break. Don't let maintenance drag you down. Step up your property management game with Vendero. Visit vendero.ai slash door grow.   today and make this the last maintenance hire you'll ever need. All right, cool. So let's talk about this private equity stuff. Help me understand what it is. I'm fairly ignorant, so.   Ashton (14:59) Hmm   So basically, I mean, it's a very big term, private equity, and it can span over so many different asset classes. And I think that's one of, I'm sidetracking a little just a minute, but like, I think that's one of my favorite parts about the private equity and PE industry is because you can meet somebody in your same asset class and they're doing something totally different. Like for instance, you know, what you're teaching Jason with the property management and like these operators and entrepreneurs who are   owner operators really, you're teaching us the same framework and we're doing the same exact thing, which there's nothing wrong with that. That's great. That works. It's systemized. In private equity, it's all wild cards. There's a lot of structure to it, but at the same time, everybody can be doing something different. And you're not in competition truly because you all have your own unique spin on it. So it's cool. But what it means is that ⁓ if, so our firm,   we bring in investor capital, ⁓ either through debt or equity. And then our investors trust us. We let them know like what we're investing in. usually have like a it depends on the type of investment. So I try not to get too technical here. It depends on the type of investment, but we let them know, hey, we're investing in XYZ companies, or we're investing in hard assets with like purchasing real estate that meet these certain criteria. So instead of   these investors taking their money and putting it into the stock market, they are putting it with private firms because the stock market is the public equities. then private equity is these private individually owned firms ⁓ that I mean, you have really large ones like BlackRock and Blackstone and ⁓ all of those. And then you have a lot of small ones like myself who are just getting off the ground. We don't have a lot of assets under management yet.   But as we develop that investor base, we're just going to keep that ball rolling and continuing.   Jason Hull (17:04) Yeah, so there's booty   firms, there's gigantic ones, there's lots of different categories of asset classes that they might be involved or invested in. And so somebody can pick a private equity company or something to partner with or get involved with that kind of is involved with the asset classes that they feel comfortable.   Ashton (17:23) Yeah,   absolutely. like, there's some, ⁓ like for us, we're real estate based and specifically Florida based real estate. There's, have friends who own hedge funds and that's all they do is hedge funds and specifically in like just in gold or in like just in commodities. We, there's people who are running funds based on really specific short-term rentals or within a five mile radius of national parks. So it gets down really, really, really specific.   ⁓ Up until like you large firms with very large funds and they have a diversified asset class over You know, they have hedge funds. They they're doing running venture They're doing ⁓ you know Secondaries they're actually in like the private equity sphere there. So it just really depends on on the firm itself and you want to make sure as if there's any investors listening you want to make sure that ⁓ your you fit with   how that firm is treating your money and running your money, and that it aligns with your goals, obviously, not just monetarily, but also with what they're investing in.   Jason Hull (18:32) Right, got it. Okay. And so how can property managers start to get involved in this and create this marriage? What are you doing?   Ashton (18:43) Yeah, so we're kind of doing it a little bit backwards. Most private equity firms, they start with raising capital and then they're going out and buying the asset and then they're outsourcing their vendors. So one of those vendors being property management and that's really where the gains and losses are happening is in the daily management style there. Then they realize and typically restructure   that they could be making more money. They could be increasing their bottom lines and everything else with that management. Everything hinges on the management when you're talking like hard assets in real estate, whether that's multifamily commercial, you know, residence, whatever it is. ⁓ So when they bring it in-house, they are restructuring. And there's also been a huge problem with   Jason Hull (19:36) Yeah.   Ashton (19:41) And I've been hearing this lately, huge problem with investor capital really not being watched out for by these firms because they're outsourcing all their vendors. What we did instead is I had already have the acquisition engine through our brokerage. We've already got all the systems set up in place for our property management firms, both short and long. Now we added the private equity firm. I have a series 65. So we're actually a state registered   Jason Hull (19:51) Right.   Ashton (20:10) like investment advisory firm for true asset management on the back end, which a lot of private equity firms do not have that. And then we added the capital. So we literally just did it backwards. And now we're focused on acquiring not only hard assets with cash flowing tenant occupied portfolios that meet certain metrics. We have to have a certain   Jason Hull (20:12) Okay.   Okay.   .   Ashton (20:37) IRR, we have to have a certain cap rate and a certain cash on cash return to even peak our interest. The other thing that we're buying is property management businesses. So we are working on acquisitions right now. We just completed one last week and we've got two more in the hopper. So we are going in and offering these off-market portfolios, know, minimum 20 up to, you   We have no limit on how many we'll buy, like minimum 20 units and we want creative financing. So we want to structure the deal where the seller and the owner is holding the majority of that note. We're using investor capital for the down payment. We're saving some to hedge for ⁓ reserves and we're going in and buying these companies to add to our revenue and our to our bottom line.   Jason Hull (21:35) I love it.   Ashton (21:36) Roll   up. That's the name and the term that's used in the private equity space is roll up.   Jason Hull (21:42) Roll-up, got it. So I've seen some of these companies in the past. I had a client, he eventually exited and sold his business to Home River Group. He had like 2,000 doors. So then he was kind more of a partner in Home River Group, 30,000 eventually. And he became kind of a consultant that would come in and these roll-ups that were being done in some instances, because they did it the reverse way from what you did, they thought they could just throw money at the problem.   So they went and acquired a whole bunch of property management companies. Sometimes, like some companies would acquire like 10,000 doors. Then they would fire like 7,000 of them because they realized there was so much garbage and it was difficult to manage. And then they thought they could just put in or install a property manager in and then the business would just run. But no real leadership for the boots on the ground. And so they would bring him in as a consultant. He would go in, fire everybody.   Ashton (22:34) Mm.   Jason Hull (22:42) organize a team, build a business and act as an interim CEO till he got the thing healthy and running. And he would make a lot of money because they were losing a lot of money trying to make this work. And people don't realize how hard property management can be. And so I think, yes, property managers have an advantage because they have the hardest piece of this entire puzzle, it sounds like.   Ashton (23:05) Yeah, it definitely is because you're dealing with you're dealing with tenants, you're dealing with the day to day your you are the boots on the ground. So that is why it is so important before we started any of this, I wanted to make sure that we had the proper systems in place that we could scale 500 more doors without blinking an eye. That is where you have to have that mindset and like you have to know what's going on before adding because when you just add   doors and just think that exactly what you said add doors and thinking that that's just going to like solve your problem you're just multiplying your problem whatever problems you have at 20 doors is going to be 10 fold at a thousand doors or more so ⁓ and more just doesn't necessarily equal better and that is one reason like in our contracts we actually do have clawbacks so if we do end up getting rid of owners that just aren't a fit   our purchase price is reduced down from the seller. So it gives the seller an incentive to ensure that they're selling us a good.   Jason Hull (24:11) Got it, yeah, that's important to have all that's in any sort of acquisition deal. So for other property managers that are looking to get into private equity and they're looking at maybe starting to do this, because they're like, you know what, I've got a healthy property management company, we've got the systems in place, is there somebody that I can partner with on this that already knows how to do it or can I go and learn to do this?   What would you say between those two options and where would you send them?   Ashton (24:43) Really? It depends on the person. This isn't for everybody. know, you, what I would recommend, and this is honestly what I tell anybody, no matter what business they're in, if they're thinking about growing, where do you want to be in three years? And let's reverse engineer it from there. So if you want to, like for us, our, our plan is to roll up to about 5,500 doors and then exit. So   Jason Hull (24:45) Yeah.   Got it.   Ashton (25:12) I already knew where I wanted to be. And so like, I wanted to exit at a certain amount. So I was like, how do I get to this amount? And then I just backed it up from there. ⁓ but that's, everybody's going to have a different goal. So I would highly recommend just like starting with that initial goal. that's, if that goal is freedom, if it is like, you want to be able to exit, you want to have, you want to just run a massive company, whatever it is, start there and then figure it out backwards.   Jason Hull (25:21) Okay.   Ashton (25:41) As far as bringing on capital and investor capital, whether they want to partner with somebody or if they want to like bring on debt, that's also a comfort level thing. ⁓ And it also depends on like what you and that other person that's bringing in the capital agree to and what you both feel like is the optimal solution. But before doing that, definitely educate yourself and find someone ⁓ either as a consultant like   Right now I am doing a little bit of consulting work for ⁓ different ⁓ funds as well as like companies like, you know, like what we're doing ⁓ for, you know, to help them with what their goals are. Let's back it up and then let's go from there. And like just adding some advice and getting them in touch with the right people that they need as far as connections. Analysts, numbers are so important when you're talking with investors.   You can't just be like, I think it's going to make this an investor, especially a sophisticated one is not going to go for that. Maybe friends and family will what I call country club money, but ⁓ a sophisticated investor, absolutely not. They're going to want to see a pro forma. ⁓ So there's so many steps involved before you ever, ever, ever bring on a dime of investor capital. So.   Jason Hull (26:51) Yep.   Ashton (27:09) I'm sorry, that's not like a ⁓ space.   Jason Hull (27:10) So, well, it sounds like   the path is maybe this. Like if you're a property manager first, you got to get your side of the room clean. You got to get your business tight. You got to get operations working, maybe reach out to DoorGro, get a little help, but you got to get things really well dialed in because it doesn't make sense to go start playing with other people's money and be on the hook for other people's money and investors.   Ashton (27:20) Yes.   was not.   Jason Hull (27:36) if you don't really feel like you have the ability to scale, you don't really feel like you can handle stuff, because if once money starts flowing and doors start adding, then if your stuff is okay, it's going to be stress tested and probably not okay. So that's probably first. Next, they need to learn about private equity, figure out that game, and then even once you figure out how that all works, then you've got to get good at selling it, which you are already a natural, you know...   Ashton (27:51) Yeah, exactly.   Jason Hull (28:05) Salesperson, you've invested a lot towards figuring that out, but then you're going out and you have to raise the cap.   Ashton (28:11) Raising capital is literally one of the hardest jobs. It is insane because you want to build a relationship and you want someone to trust you, but you're also asking for a check. And so it's trying to balance the relationship aspect as well as the transactional aspect. And it's even harder as a woman because private equity is definitely, ⁓ there's not a lot of women in this field.   Jason Hull (28:32) Yeah.   Ashton (28:41) ⁓ so it's even harder being like of the opposite gender. ⁓ so there's a lot to balance there. so getting, getting comfortable asking, but not being pushy. It's that I've learned so much from.   Jason Hull (28:56) As a woman, you've had   to take maybe a more feminine approach or you go in hot the way most guys would.   Ashton (29:04) It depends on the person.   It depends on my audience. You have to sell the way somebody wants to buy. So I've learned not to, at the beginning, I was definitely very transactional. And I've learned ⁓ through a dear friend of mine that to be more relationship-based and then that will come a little bit later with the transaction. ⁓ But at the same time, because I'm like,   Jason Hull (29:11) Yeah.   Mm-hmm.   Ashton (29:32) I need to know now. Like, I don't want to waste my time. I don't want to waste their time. We just need to lay it out on the table right now. They need to know what I'm here for. ⁓ I've had to like roll that back a little bit. And since I have, the checks have been definitely coming in a little bit smoother. So it was a huge learning experience for me.   Jason Hull (29:51) Yeah.   Ashton, how old are you right now for those listening? All they've heard is 23.   Ashton (29:59) I'm 30 now.   Jason Hull (30:01) 30 now, okay, you're 30 years old, you're doing amazing things. What amount of capital are you raising right now? Like what's your goal?   Ashton (30:05) Yeah.   Yeah, so we do different like rounds or like tranches of raising and it right now we are raising for specific projects. So as the projects come up, then we go out to our current investors first and then to like new potential investors next. ⁓ So in the spring, we're about to start doing another raise for ⁓ one, a business and then two, a couple other. ⁓   real estate portfolios that I'm looking at. ⁓ So that is going to be around the $800,000 mark of capital. And typically we do like minimum commitments of 100 because when you get into smaller amounts, typically the investors that are, I just become a little bit more needy because they're only, they're not as sophisticated and we want to deal with the investors who are.   Jason Hull (31:06) Got it. Yeah, that makes sense. Very cool. Sounds like you're doing really cool things. So Ashton, for those that are listening and they're curious about you, they're curious about maybe getting into this, you mentioned you do some consulting, you mentioned there may be investors or maybe they want to get in on some of the investing stuff that you're doing. How can they get in touch with you?   Ashton (31:29) Yeah, so they can send us an email. That would be the best way to you can send it to info at FX to capital calm. ⁓ And we, you know, are one of our interns checks that email on the daily. ⁓ So then we can set up an investor call and go through really well what your goals are. What is your portfolio look like right now?   How are you diversifying yourself? And maybe we can talk about what we can do to help increase that, maybe rebalance you a little bit within the private space and in the private markets.   Jason Hull (32:06) Cool, well property managers, if you're listening, I think Ashton's definitely doing something that's very cool. A lot of you probably could get in on this or create some sort of alliance or relationships that could allow you to be part of something like this. Even if it's just you're getting doors from other people that are in the private equity space that are rolling up a bunch of investment properties, this would be easy doors for you to get on if you really could do a good job. And it sounds like that's the linchpin, that's the hardest piece of the puzzle.   And if you're a good property manager, you've got that down then. So you've got a competitive advantage. So Ashwin, I appreciate you coming on and sharing this here on the board.   Ashton (32:43) Thank you.   Yeah, that was so much fun. It was so great talking to you.   Jason Hull (32:48) Awesome, so we'll go ahead and wrap up. For those of you that are feeling stuck, stagnant, you want to take your property management business to the next level, reach out to us at doorgrow.com for a free training on how to get unlimited free leads. Text the word leads to 512-648-4608. Also join our free Facebook community. It's just for property management business owners at doorgrowclub.com. And if you want tips, tricks, ideas to learn maybe about some of our offers,   subscribe to our newsletter by going to doorgrow.com slash subscribe. And if you found this even a little bit helpful, don't forget to subscribe, leave us a review. Anything like that would really help us out. We would appreciate it. And until next time, remember, the slowest, absolute slowest path to growth is to do it alone. And you heard Ashton, she's leveraging a lot of people to do what she's doing to grow. So let's grow together. Bye everyone.

Spice up your Valentine's Day weekend with six proverbial vials of Love Potion No. 9...it's a brand new O3L Weekend Six Pack! This "show within the show" spotlights six new songs that we think you need in your life! Brett chats with the wildly talented brothers Matheus and Thiago Khouri from Brazil's Banda AL9. Over the past few years, Banda AL9 has earned millions of social media followers, streams, and viral video views with their irresistible blend of Beatlesque songcraft, tight brotherly harmonies, and fun, infectious energy. Now it's time for American audiences to catch up with their upcoming album on Little Steven's Wicked Cool Records, Hey ! Hey! We're Banda AL9, due on July 17th. The first taste of the new album is their sublime cover of labelmate Kurt Baker's "She Can Do It All." Those of you fortunate enough to be in the New York area can check out the phenomenal pop combo live at the Cutting Room on February 19th! This six pack consists of: 1) Banda AL9 - "She Can Do It All" (from the forthcoming LP Hey! Hey! We're Banda AL9, Wicked Cool Records) 2) The Scarlet Goodbye - "She Is Fire" (The Label Group/Virgin) 3) Randy Klawon - "Spoonful Of Love" 4) Railcard - "Day Dream" (from the LP Railcard, Skep Wax Records) 5) Brighton Strangler - "Georgie Best" (from the forthcoming LP Moves Like Lovers) 6) The Blue Herons - "Willow" (from the forthcoming LP Demon Slayer, Shelflife Records) Learn more about your ad choices. Visit megaphone.fm/adchoices

Sean Elliott joins Papa & Silver to reflect on Gregg Popovich and the origins of load management in the NBA. He tells Papa & Silver why simply shortening the regular season from 82 games will not solve the injury issues that we see today, and how players need to come into the season physically ready to play for eight months. Plus, his thoughts on the stardom of Victor Wembanyama, who scored 40 points in the Spurs' win over the Lakers last night.See omnystudio.com/listener for privacy information.

Anne Catona Lynn survived a traumatic car accident at age 4, multiple sexual assaults in her 20s, and decades of unprocessed PTSD—until she discovered EMDR therapy and began her healing journey. Now a trauma-informed consultant and author, Anne shares her transformative story and the specific techniques that helped her reclaim her life. Discover how childhood trauma affects physical health, why self-medication fails, and the surprising connection between adverse childhood experiences and autoimmune diseases. Learn practical, actionable strategies you can implement today to regulate your nervous system and begin healing. Anne also discusses her groundbreaking work building trauma-sensitive, resilient schools and communities—and how the same principles that heal individuals can heal entire organizations. Topics covered: EMDR (Eye Movement Desensitization & Reprocessing) therapy breakthrough Childhood trauma and PTSD recovery Sexual assault healing and shame Mind-body connection: trauma and autoimmune disease Practical grounding exercises for nervous system regulation Reframing trauma narratives from shame to strength Building trauma-informed schools and communities Holistic healing: nutrition, movement, mindfulness When to seek professional help and therapy Resources mentioned: "Shedding Lies: Living Beyond Childhood Trauma" (available on Amazon, Kindle on sale for 99¢) "Depression Lied to Me" (anthology featuring Anne's story) Upcoming book: "Grief, Grace, and Gravity" (with her husband) Website: KatonLynnConsulting.com Keywords: trauma recovery, EMDR therapy, childhood PTSD, sexual assault healing, nervous system regulation, autoimmune disease, trauma-informed schools, healing strategies, adverse childhood experiences, mental health   Transcript:   

Sean Elliott joins Papa & Silver to reflect on Gregg Popovich and the origins of load management in the NBA. He tells Papa & Silver why simply shortening the regular season from 82 games will not solve the injury issues that we see today, and how players need to come into the season physically ready to play for eight months. Plus, his thoughts on the stardom of Victor Wembanyama, who scored 40 points in the Spurs' win over the Lakers last night.See omnystudio.com/listener for privacy information.

Patriots head coach Mike Vrabel addresses the media on Tuesday, February 10, 2026.See omnystudio.com/listener for privacy information.

Over on Candy Chat Chicago, Ronnie Raviv joined hosts Leah Jones and Jocelyn Geboy to talk about medical diagnoses, Finland, the Ice Hotel, the last Bears game of the post-season, all while eating a lot of Finnish candy. Candy that we sample during the episode. Photos on Threads Suffeli Puffi Marianne Dumle Winter Mix Jaffa Karl Fazer Blueberry Truffle Karl Fazer Salty Toffee Crunch Salted Caramel Fudge Ollo All Sorts Susu Snacks Tutti Frutti Winter Mix Tyrkisk Peper Fazer Glogikulaat Lapland's blueberry candy  Vestibular Schwannoma or Acoustic Neuroma information Mayo Clinic Dr. Ricky Wong   Ronnie and Leah's guide to Lapland Time-lapse drive to Sweden: Housing between Kittila/Levy and Muonio Villa Borealis (where we stayed) https://www.villaborealis.com  Lapland Dream Villas (3adjacent cabins, different owner, same operator) https://www.laplanddream.fi    Appropriate clothing Our property owner had a warehouse that she took us to for boots, coats, gloves, snowpants, etc Ice hotel provided coveralls, gloves, boots, balaclava Base layer of cotton is a no-no in a cold room at Icehotel so make sure you at least have something synthetic or wool for top and bottom   Places we ate in Finland Swiss cafe Muonio Takka at Olos resort Panoramic restaurant at Levi resort via gondola Levi Pizza Salteriat (schnitzel) Finland activities and vendors Aurora Chase with Arctic Frontiers http://www.arcticfrontier.fi/  Phenomenal. Would've booked a second night if needed Base camp was on a frozen lake with a hut with a fire, warm juice and brownies Dogsled http://www.maglelin.fi/  What a delightful afternoon! Ronnie drove a sled himself and I was a passenger on the guide's sled. Once she saw my cane, she made arrangements for me to sit and take 200 photos.  Family owned and operated. She offers different distances based on the weather and party size.  Arcandia Adventure Park  What a fun, silly night!  We did ramen with the shamen for dinner. Hot pot cooking with reindeer meat, filet, ramen, fresh veg A la cart sausages and snacks looked good Hot chocolate with mint liqueur was delicious  We threw spears, axes, archery, and did an astrology chart This is hilly terrain with snow packed paths. We saw people slip and fall, but kept our footing.  Of course it's a tourist trap! Take your best ren faire or Comic-Con attitude and have fun https://www.arcandia.fi/  Reindeer safari https://www.getyourguide.com/sirkka-l139331/levi-reindeer-experience-with-sled-ride-t418396/?ranking_uuid=3248de96-0922-420f-af99-54f05c66decf  Warm drinks in a hut with a fire for fascinating reindeer facts after short sleigh ride and feeding reindeer   Ice hotel in Sweden https://www.icehotel.com/  What we did Ice Dinner Slept cold in 365 art suite Aurora photography with Scandinavian Sami Photoadventures Www.scandanavianphtotoadventures.com.  Ice sculpture class Ice Hotel suggestions Look at the calendar for when the winter exhibit opens. We went a week before. Fun vibe with all the artists and builders on campus, but we didn't get to see the annual build Skip the ice dinner and eat a la carts Use their gear! It's really good Make it two nights - one warm, one cold - and enjoy a slower visit Overall thoughts We went Nov 30 to December 6 2 hours of daylight stretched into 4-5 hours with dawn and dusk Went before peak season of total darkness, so more cost effective  We didn't do any Christmas or Santa stuff A few notes on traveling fat and mobility-impaired IceHotel had gear in sizes too big for me! The icehotel sleeping bag was snug and a little claustrophobic, but it zipped The property manager had coats big enough for me (actually a little too big) WinterRent coat was my fave, but their 6x pants didn't fit. Their boots were also the best I borrowed for me.  The Snow Country snow pants I bought on clearance last year were perfect https://www.snowcountryouterwear.com/  Smart Wool base layers in largest size fit great Darn Tough socks were tight on calf, but worked good enough  Every restaurant has comfortable seating for me The wheelchair plane access in Kittila was an elevator on a truck. If you are unsteady on your feet, get wheelchair services in the airports and save your energy for dogsledding.  Bring your own towel. No towel in Finland wrapped around my body. 

In a world, where Samoan werewolves walk, American Nightmares come true and Phenomenal careers end, we ask why so Saudi??? The fellas are back talking alot of Royal Rumble talk, high lights, low lights, meh lights and they remind everyone that you still not hating hard enough!!!Follow us on social media:IG: Instagram.com/letmebookpodX: x.com/letmebookpodYT: youtube.com/letmebookpod

Robert Cantwell calls Alphabet's (GOOGL) latest earnings "really important" with investors putting their foot down on the Mag 7 company's $180 billion projected CapEx spending. He's wary on AI infrastructure moving forward, but he believes the company can use AI to strengthen its advertising revenue stream. Angelo Zino calls the results "phenomenal" and sees opportunity in Alphabet's gargantuan CapEx. As long as the company accelerates its use cases for AI beyond Gemini, Angelo sees the $180 billion investment paying off. ======== Schwab Network ========Empowering every investor and trader, every market day.Options involve risks and are not suitable for all investors. Before trading, read the Options Disclosure Document. http://bit.ly/2v9tH6DSubscribe to the Market Minute newsletter - https://schwabnetwork.com/subscribeDownload the iOS app - https://apps.apple.com/us/app/schwab-network/id1460719185Download the Amazon Fire Tv App - https://www.amazon.com/TD-Ameritrade-Network/dp/B07KRD76C7Watch on Sling - https://watch.sling.com/1/asset/191928615bd8d47686f94682aefaa007/watchWatch on Vizio - https://www.vizio.com/en/watchfreeplus-exploreWatch on DistroTV - https://www.distro.tv/live/schwab-network/Follow us on X – https://twitter.com/schwabnetworkFollow us on Facebook – https://www.facebook.com/schwabnetworkFollow us on LinkedIn - https://www.linkedin.com/company/schwab-network/About Schwab Network - https://schwabnetwork.com/about

Send us a textJoe Camp analyzes the current state of U.S. grain exports, specifically focusing on how recent political developments and weather patterns are shifting the market for corn, soybeans, and wheat.The central "star of the show" is the news regarding U.S.-China soybean trade, driven by a social media post from President Trump and a potential face-to-face meeting with Xi Jinping in April.Stay Connectedhttps://www.commstock.com/https://www.facebook.com/CommStockInvestments/https://www.youtube.com/channel/UClP8BeFK278ZJ05NNoFk5Fghttps://www.linkedin.com/company/commstock-investments/

royal rumble 2026 review

This week on Episode 401, the Mikes talk Rumble predictions. Also, is this the last we see of AJ Styles, or just the last we see of him in the WWE? Please consider helping Mikey: https://gofund.me/46b0b4fbfacebook.com/drivebypodArchives:Piledriversinthecrypt.comdanielgrothe.us danielgrothe.net danielgrothe.at

Mark Christian Thompson's book, Phenomenal Blackness: Black Power, Philosophy, and Theory (University of Chicago Press, 2022) examines the changing interdisciplinary investments of key mid-century African American writers and thinkers, showing how their investments in sociology and anthropology gave way to a growing interest in German philosophy and critical theory by the 1960s. Thompson analyzes this shift in intellectual focus across the post-war decades, pinpointing its clearest expression in Amiri Baraka's writings on jazz and blues, in which he insisted on philosophy as the critical means by which to grasp African American expressive culture. More sociologically oriented thinkers, such as W. E. B. Du Bois, had understood blackness as a singular set of socio-historical characteristics. In contrast, writers such as Baraka, James Baldwin, Angela Y. Davis, Eldridge Cleaver, and Malcolm X were variously drawn to notions of an African essence, an ontology of Black being. For them, the work of Adorno, Habermas, Marcuse, and German thinkers was a vital resource, allowing for continued cultural-materialist analysis while accommodating the hermeneutical aspects of African American religious thought. Mark Christian Thompson argues that these efforts to reimagine Black singularity led to a phenomenological understanding of blackness--a "Black aesthetic dimension" wherein aspirational models for Black liberation might emerge. Brittney Edmonds is an Assistant Professor of Afro-American Studies at UW-Madison. I specialize in 20th and 21st century African American Literature and Culture with a special interest in Black Humor Studies. Read more about my work at brittneymichelleedmonds.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Mark Christian Thompson's book, Phenomenal Blackness: Black Power, Philosophy, and Theory (University of Chicago Press, 2022) examines the changing interdisciplinary investments of key mid-century African American writers and thinkers, showing how their investments in sociology and anthropology gave way to a growing interest in German philosophy and critical theory by the 1960s. Thompson analyzes this shift in intellectual focus across the post-war decades, pinpointing its clearest expression in Amiri Baraka's writings on jazz and blues, in which he insisted on philosophy as the critical means by which to grasp African American expressive culture. More sociologically oriented thinkers, such as W. E. B. Du Bois, had understood blackness as a singular set of socio-historical characteristics. In contrast, writers such as Baraka, James Baldwin, Angela Y. Davis, Eldridge Cleaver, and Malcolm X were variously drawn to notions of an African essence, an ontology of Black being. For them, the work of Adorno, Habermas, Marcuse, and German thinkers was a vital resource, allowing for continued cultural-materialist analysis while accommodating the hermeneutical aspects of African American religious thought. Mark Christian Thompson argues that these efforts to reimagine Black singularity led to a phenomenological understanding of blackness--a "Black aesthetic dimension" wherein aspirational models for Black liberation might emerge. Brittney Edmonds is an Assistant Professor of Afro-American Studies at UW-Madison. I specialize in 20th and 21st century African American Literature and Culture with a special interest in Black Humor Studies. Read more about my work at brittneymichelleedmonds.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Mark Christian Thompson's book, Phenomenal Blackness: Black Power, Philosophy, and Theory (University of Chicago Press, 2022) examines the changing interdisciplinary investments of key mid-century African American writers and thinkers, showing how their investments in sociology and anthropology gave way to a growing interest in German philosophy and critical theory by the 1960s. Thompson analyzes this shift in intellectual focus across the post-war decades, pinpointing its clearest expression in Amiri Baraka's writings on jazz and blues, in which he insisted on philosophy as the critical means by which to grasp African American expressive culture. More sociologically oriented thinkers, such as W. E. B. Du Bois, had understood blackness as a singular set of socio-historical characteristics. In contrast, writers such as Baraka, James Baldwin, Angela Y. Davis, Eldridge Cleaver, and Malcolm X were variously drawn to notions of an African essence, an ontology of Black being. For them, the work of Adorno, Habermas, Marcuse, and German thinkers was a vital resource, allowing for continued cultural-materialist analysis while accommodating the hermeneutical aspects of African American religious thought. Mark Christian Thompson argues that these efforts to reimagine Black singularity led to a phenomenological understanding of blackness--a "Black aesthetic dimension" wherein aspirational models for Black liberation might emerge. Brittney Edmonds is an Assistant Professor of Afro-American Studies at UW-Madison. I specialize in 20th and 21st century African American Literature and Culture with a special interest in Black Humor Studies. Read more about my work at brittneymichelleedmonds.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Mark Christian Thompson's book, Phenomenal Blackness: Black Power, Philosophy, and Theory (University of Chicago Press, 2022) examines the changing interdisciplinary investments of key mid-century African American writers and thinkers, showing how their investments in sociology and anthropology gave way to a growing interest in German philosophy and critical theory by the 1960s. Thompson analyzes this shift in intellectual focus across the post-war decades, pinpointing its clearest expression in Amiri Baraka's writings on jazz and blues, in which he insisted on philosophy as the critical means by which to grasp African American expressive culture. More sociologically oriented thinkers, such as W. E. B. Du Bois, had understood blackness as a singular set of socio-historical characteristics. In contrast, writers such as Baraka, James Baldwin, Angela Y. Davis, Eldridge Cleaver, and Malcolm X were variously drawn to notions of an African essence, an ontology of Black being. For them, the work of Adorno, Habermas, Marcuse, and German thinkers was a vital resource, allowing for continued cultural-materialist analysis while accommodating the hermeneutical aspects of African American religious thought. Mark Christian Thompson argues that these efforts to reimagine Black singularity led to a phenomenological understanding of blackness--a "Black aesthetic dimension" wherein aspirational models for Black liberation might emerge. Brittney Edmonds is an Assistant Professor of Afro-American Studies at UW-Madison. I specialize in 20th and 21st century African American Literature and Culture with a special interest in Black Humor Studies. Read more about my work at brittneymichelleedmonds.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/german-studies

Mark Christian Thompson's book, Phenomenal Blackness: Black Power, Philosophy, and Theory (University of Chicago Press, 2022) examines the changing interdisciplinary investments of key mid-century African American writers and thinkers, showing how their investments in sociology and anthropology gave way to a growing interest in German philosophy and critical theory by the 1960s. Thompson analyzes this shift in intellectual focus across the post-war decades, pinpointing its clearest expression in Amiri Baraka's writings on jazz and blues, in which he insisted on philosophy as the critical means by which to grasp African American expressive culture. More sociologically oriented thinkers, such as W. E. B. Du Bois, had understood blackness as a singular set of socio-historical characteristics. In contrast, writers such as Baraka, James Baldwin, Angela Y. Davis, Eldridge Cleaver, and Malcolm X were variously drawn to notions of an African essence, an ontology of Black being. For them, the work of Adorno, Habermas, Marcuse, and German thinkers was a vital resource, allowing for continued cultural-materialist analysis while accommodating the hermeneutical aspects of African American religious thought. Mark Christian Thompson argues that these efforts to reimagine Black singularity led to a phenomenological understanding of blackness--a "Black aesthetic dimension" wherein aspirational models for Black liberation might emerge. Brittney Edmonds is an Assistant Professor of Afro-American Studies at UW-Madison. I specialize in 20th and 21st century African American Literature and Culture with a special interest in Black Humor Studies. Read more about my work at brittneymichelleedmonds.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

01-09-26 Recapping what was a phenomenal CFP Semifinal game between Miami & Ole Miss

It's that time of year folks! These are the top 5 best callers of the year as voted by you, complete with update callbacks from Patreon. We talk with Furry Potluck, Accidentally hooked up with both brothers, crushing on the schoolbus driver, dildo soup kitchen counter, and romantic letter to the upstairs pianist. ENJOY! See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

hey guys!! HAPPY NEW YEAR!!! YES!!! I'm wrapping up an AMAZING year for myself and WOW was this a great year for me!! SO MANY cool things happened for me in 2025. it was such a FABULOUS year for me from everything from getting to make my record, going on an all expenses paid trip to Miami! to getting one of my songs played on SiriusXM Radio! WOW guys! this year PHENOMENAL for sure! AND all of the cool free (for me, at least) Oldies concerts that I got to go to! WOW 2025 was SUCH a great year for me! even though my dating/sex life didn't quite improve in 2025 and I didn't play a single show in 2025, there's always next year!Anyways guys, I wanted to close out the year with an absolute BANGER of a song. this song is SO GOOD and with this epiosde, I"m diving into analyzing the track AS WELL as the history behind this group as well.so we going out of 2025 with a BANG folks and I couldn't be more excited about it!here's the link to this week's song right here:https://www.youtube.com/watch?v=tKQ47h6S6p4&list=RDtKQ47h6S6p4&start_radio=1PLEASE do follow me & reach out to me on Instagram & Tik Tok right here, so you guys can also stay up to date on my next album:https://www.instagram.com/iheartoldies/https://www.tiktok.com/@iheartoldiesPLEASE do also subscribe to the premium version of my podcast so that way you guys DO NOT miss out on these REALLY cool interviews that I'm doing for my podcast! and yes unfortunately one of my free interviews was taken down but I'm currently working on getting it re-uploaded, but in the meantime, I have SO MANY great premium interviews that you can listen to by subscribing right here:https://themillennialthrowbackmachine.supercast.com/also PLEASE do pre game for my next EP/album by listening to my last EP! it is SO good guys!! I rarely listen to my own music that I've released but I did last night and I was like WOW these songs are SO GOOD! so PLEASE do yourself a favor and check these songs out: https://distrokid.com/hyperfollow/samlwilliams/an-old-soul-with-new--remiagined-thingsalso PLEASE do keep up with my podcast by following these playlists so you can hear the songs that I've talked about on my show by clicking these links right here:https://open.spotify.com/playlist/21f3uBS6kU4hUF6QAC5JMj?si=339df06580984074https://www.youtube.com/watch?v=CS1sYR7xky8&list=PL66sgq_GAmRcXy8yKZJfVmAD14HUYj7Nfalso PLEASE do pick some VERY Cool podcast merch. I recently launched a VERY cool line of new podcast merch with a VERY cool new logo for the premium version of my podcast! PLEASE do check it out by clicking the link right here:https://www.redbubble.com/i/sticker/Fly-On-The-Wall-Stories-by-60sSam95/158056341.EJUG5anyways guys, as per usual, if your'e a Millennial/Gen Z and you've NEVER heard this song before and you fell in love with it and your'e hearing it for the first time through me and you found out some GREAT information about it from me, then DEFINITELY email me at samltwilli@icloud.com, you can also follow me and reach out to me on Instagram & Tik Tok @iheartoldies. WOW guys this year has been absolutely INCREDIBLE for me and I cannot WAIT to finish my album and release some new music in 2026! and release more GREAT new interviews with TONS more cool 60's music legends for the premium version of my podcast.Guys, this year was absolutely AMAZING for me and I honestly don't know how 2026 can top 2025 for me but we'll see. anyways guys, Happy New Year and I will see you and talk to you all in 2026 but until then, PLEASE, Keep Things Groovy!!!!!.

Mike Hoss and Bobby interviewed Saints assistant special teams coach Kyle Wilber on WWL's weekly "Saints Coaches Show." Coach Wilber shared his thoughts on Dante Pettis, the Saints' coverage units, and Charlie Smyth.

Mike Hoss and Bobby interviewed Saints assistant special teams coach Kyle Wilber on WWL's weekly "Saints Coaches Show." Coach Wilber shared his thoughts on Dante Pettis, the Saints' coverage units, and Charlie Smyth.

Charles Schwab's Rachel Dashiell turns to the Mag 7 in Alphabet's (GOOGL) "phenomenal run" in 2025. She examines short and long-term price action to show how the recent breakdown doesn't necessarily mean bears are clawing into the stock. ======== Schwab Network ========Empowering every investor and trader, every market day. Subscribe to the Market Minute newsletter - https://schwabnetwork.com/subscribeDownload the iOS app - https://apps.apple.com/us/app/schwab-network/id1460719185Download the Amazon Fire Tv App - https://www.amazon.com/TD-Ameritrade-Network/dp/B07KRD76C7Watch on Sling - https://watch.sling.com/1/asset/191928615bd8d47686f94682aefaa007/watchWatch on Vizio - https://www.vizio.com/en/watchfreeplus-exploreWatch on DistroTV - https://www.distro.tv/live/schwab-network/Follow us on X – https://twitter.com/schwabnetworkFollow us on Facebook – https://www.facebook.com/schwabnetworkFollow us on LinkedIn - https://www.linkedin.com/company/schwab-network/ About Schwab Network - https://schwabnetwork.com/about

To be great, even a genius at anything takes discipline, commitment and the ability to stay out of your own way to accomplish greatness. John Kizilarmut shares his path to be an accomplishment drummer who leads with his heart, soul and intelligence.

The Rotary Tree on Patrick St over Xmas has become one our most beloved holiday attractions and Katie O'Keefe from the Corks 96FM Newsroom brings us up to date. Hosted on Acast. See acast.com/privacy for more information.

Trade numbers. Astronomical under Biden. President Trump is having to get Biden's numbers down from $136B in March of 2025. And here's the sick part: he's doing it.If I were a Democrat, I'd consider changing my party, or finding a country with no extradition. Because to live in America in 2026 you won't want any association with the party of murder. And if you're part of the establishment, then you will likely end up in prisonSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Pool Pros text questions hereIn this episode, Rudy Stankowitz dives deep into the complexities of pool chemistry, particularly focusing on chloramines and breakpoint chlorination. He shares personal anecdotes, discusses industry events, and answers listener questions about lagoon pools versus traditional pools. The conversation emphasizes the importance of understanding water treatment processes and the misconceptions surrounding chloramines in swimming pools.takeawaysChloramines are a persistent issue in pool maintenance.There is no singular solution to eliminate chloramines.Proper water chemistry and airflow are crucial for pool health.Lagoon pools operate differently than traditional pools.Breakpoint chlorination is often misunderstood in the industry.Organic chloramines are more challenging to eliminate than inorganic ones.Superchlorination can sometimes worsen combined chlorine issues.Understanding the chemistry behind pool maintenance is essential.Municipal water treatment can impact pool water quality.Effective pool management requires ongoing education and adaptation.Sound Bites"It's a matter of dollars.""Check it out. Phenomenal.""Somebody screwed up the math."Chapters00:00Holiday Greetings and Reflections01:21Chloramines: Understanding the Challenge03:10Upcoming Speaking Engagements and Industry Events10:03Personal Experiences: Dining and Ghost Hunting12:53Listener Questions: Natural vs. Traditional Pools20:51Breakpoint Chlorination: Myths and Realities40:33Closing Thoughts and Future Episodes Support the showThank you so much for listening! You can find us on social media: Facebook Instagram Tik Tok Email us: talkingpools@gmail.com

The Two Bobs episode 300 for Monday, December 15, 2025: What are The Bobs drinking? Rob enjoyed a Three Scrooges from Griffin Claw. https://untp.beer/Q0N6a Robert nursed a Cherries Jubilee Quad from Boulevard. https://untp.beer/474bc3ebab Follow us on Untapped at @RobFromTTB and @lowercaserobert or we'll sell your armpit pics on the internet. To celebrate episode 300, we had a few surprise guests on the show. It was a surprise to them too! This week's CRAZY NEWS flips coins better than the President. Apparently armpit porn is one of the most popular fetishes of 2025. We must be running out of other weird shit to fantasize over. https://metro.co.uk/2025/12/04/pit-porn-one-requested-fetishes-year-saltier-better-25100673/ A Virginia raccoon got drunk, trashed a liquor store, and was later found passed out on the bathroom floor. https://people.com/viral-drunk-raccoon-liquor-store-releases-3-cocktails-inspired-by-its-boozy-visitor-11864263 A man in Ohio accidentally sent meth through a bank drive-through tube. https://nypost.com/2025/12/08/us-news/ohio-man-accidentally-sent-meth-through-tube-at-bank-drive-thru-police/ A drunk Florida Man® was arrested after breaking into the wrong house thinking it was his own. https://www.gulfcoastnewsnow.com/article/florida-man-drunk-home-port-charlotte/69626298 A new Utah law bans eye contact during sex. https://theonion.com/utah-bans-eye-contact-during-sex/ Find us wherever you get your podcasts. Rate, review, and tell your equally twisted friends. Join us on all the social things: Follow us on Blue Sky Follow us on Twitter Check out our Instagram Find us on YouTube Follow Rob on Untappd Follow Robert on Untappd The Two Bobs Podcast is © The Two Bobs.  For more information, see our Who are The Two Bobs? page, or check our Contact page.  Words, views, and opinions are our own and do not represent those of our friends, family, or our employers unless otherwise noted.  Music for The Two Bobs was provided by JewelBeat (which doesn’t exist anymore but we still put it here because we like to do the right thing)

Better Lawns and Gardens Hour 2 – Coming to you from the Summit Responsible Solutions Studios. Garden expert, Teresa Watkins is joined by Renée Wilson on the eve of the Audubon's traditional Christmas Bird Count. Dirty Word of the Day is Semelparity. Garden topics and questions include what to  plant in the month of December, ‘Phenomenal' Lavender, time to fertilize mums, replacing lawn, pine mulch to prevent weeds, soil moisture meters, AI hostas, bluebird houses, and more. https://rb.gy/0hzjxx   Sign up for Teresa's monthly gardening newsletter, “In Your Backyard” where you can read Teresa's what to do in your landscape tips, Landscape Malpractice: How to know when to fire your landscaper,” Teresa's Design Tips; and more.   https://bit.ly/2YRBbsT     Art in Bloom Garden Tours New garden tours announced! Revolutionary Garden Tour, Chelsea Flower Show, and more! Come join Teresa on incredible garden adventures! Special discount offer! Graphic credit: Teresa Watkins Listen every Saturdays from 7am - 9am EST on WFLA- Orlando. Call in with your garden questions and text messages on 1-888.455.2867 and 23680, Miss the live broadcast? Listen on Audioboom podcast 24/7. https://rb.gy/gf8k3s Join me on Facebook, Instagram. #WFLF #WFLA #FNN #WNDB #BetterLawns #gardening #Florida #planting #gardeninglife #radio #southflorida #northflorida #centralflorida #Deland #SHE #Orlando #Sarasota #Miami #FortLauderdale #podcast #syndicated #BLGradio #WRLN #WiOD #gardening #SummitResponsibleSolutions #QualityGreenSpecialists #BlackKow 

This. Is. Phenomenal. Nick Clegg has been one of the most powerful people in the UK and in Silicon Valley. He takes us inside the crazy world of Meta and the tech bros. What is Mark Zuckerberg really like? Should we fear AI? Does he still speak to David Cameron?All this and more are contained within! THE POLITICAL PARTY LIVE26 January: Special VIP Guest16 February: David Miliband9 March: Zack Polanskihttps://nimaxtheatres.com/shows/the-political-party-with-matt-forde/ SEE Matt's brand new stand-up tour 'Defying Calamity' across the UK:https://www.mattforde.com/live-shows Hosted on Acast. See acast.com/privacy for more information.

Lubman and Spadoni reflect on Pat Spencer's last few nights and what's been the most exciting about his emergence

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

In March 5, 1931, Blanche March and her husband, George, opened the doors of El Coyote Mexican Cafe for the very first time. This ancient Mexican restaurant on Beverly Blvd. is one of the best big-group spots in town, and when you add in all the lights, garland, and Christmas trees they put up, you’ve got your holiday meal. PLUS the food is PHENOMENAL.See omnystudio.com/listener for privacy information.

Better Lawns and Gardens Hour 2 – Coming to you from the Summit Responsible Solutions Studios. Garden expert, Teresa Watkins gets Santa's gift list from Randy Schultz, editor and founder of Home Garden and Homestead. Dirty Word of the Day is Heterophylla. Garden topics and questions include: What to  plant in the month of December, delphiniums, Eileen's bird feeders, ‘Phenomenal' Lavender, and more. https://rb.gy/0hzjxx   Sign up for Teresa's monthly gardening newsletter, “In Your Backyard” where you can read Teresa's what to do in your landscape tips, Landscape Malpractice: How to know when to fire your landscaper,” Teresa's Design Tips; and more.   https://bit.ly/2YRBbsT      Art in Bloom Garden Tours New garden tours announced! Philadelphia Flower Show, Revolutionary Garden Tour, Chelsea Flower Show, and more! Come join Teresa on incredible garden adventures! Special discount offer! Graphic credit: Teresa Watkins Listen every Saturdays from 7am - 9am EST on WFLA- Orlando. Call in with your garden questions and text messages on 1-888.455.2867 and 23680, Miss the live broadcast? Listen on Audioboom podcast 24/7. https://rb.gy/gf8k3s Join me on Facebook, Instagram. #WFLF #WFLA #FNN #WNDB #BetterLawns #gardening #Florida #planting #gardeninglife #radio #southflorida #northflorida #centralflorida #Deland #SHE #Orlando #Sarasota #Miami #FortLauderdale #podcast #syndicated #BLGradio #WRLN #WiOD #gardening #SummitResponsibleSolutions #QualityGreenSpecialists #BlackKow  #gardening #gardeninglife #gardens #Gardentours #artinbloom #travel #travelphotography #landscapephotography #iris #wildflowers #topiary #tours #adventure #beauty #flowers #design #photography #flowersonInstagram #gardenson #Instagram  

⭐️ In This Episode You'll Discover:How a childhood healing experience set Dr. Markson on the chiropractic pathThe seven-year struggle that nearly pushed him out of the professionThe single event that changed everything (and why he still teaches it today)The power of belief systems, affirmations, and visualizationWhat Dr. Markson learned directly from BJ PalmerHow Parker Seminars shaped modern chiropractic successThe origins of Markson Management, The Master Circle & The Cabin ExperienceWhy helping struggling chiropractors succeed has been his lifelong missionHow mindset, environment, and daily habits determine long-term outcomes

It's the time of Boris. This episode tracks Boris Johnson's character, starting with a less than complimentary report from his housemaster at Eton to this parents, through his time in the rich kids' Bullingdon Club in Oxford, followed by some disreputable incidents when he was Mayor of London, to his endorsing of claims he must have known were false in the Brexit campaign. This period is capped by his becoming Prime Minister, something he doubtless felt was no more than his entitlement.The episode then follows his work to complete Brexit, including his attempt to get parliament out the way so it couldn't block him, an attempt that would eventually be ruled illegal. There was also his purging of the Parliamentary Conservative Party of leading pro-EU voices, making it more Eurosceptic than ever. That was confirmed by the December 2019 election, which he won handsomely, with none of the eleven purged Tories getting back into parliament. With a good majority, he was able to ‘get Brexit done', his slogan in the election.Labour under its left-wing leader Jeremy Corbyn, took a hiding, emerging with its lowest haul of MPs since 1935, breaking the dubious record previously set by the previous party leader from the left, Michael Foot, in 1983.As well as Brexit, what marked the rest of Boris's time as Prime Minister was a series of scandals, which suggested irresponsible behaviour on his part and a desire to hide information that might confirm it publicly. Eventually, there was one scandal too many and his ministerial colleagues started to resign from government in droves, until he decided the game was up and stood down himself.Illustration: The Bullingdon Club in 1987, with David Cameron at left in the back row and Boris Johnson, at the right of the row of sitting figures. All are wearing the (expensive) Club clothing. Photograph: Mallams/Lucas Field Media, from the Guardian.Music: Bach Partita #2c by J Bu licensed under an Attribution-NonCommercial-No Derivatives (aka Music Sharing) 3.0 International License

Arsenal beat Bayern 3–1 at the Emirates, and the lads jump on the mics straight after full-time for instant reaction. Gav, Ells and Jus break down the line-up, Bayern's early spell of control, Timber's opener, and 17-year-old Karl's equaliser before getting into how Arsenal completely took over the second half.There's praise for Rice, discussion on Lewis-Skelly's positioning, big love for Merino, and full chat on the game-changing impacts from Madueke, Calafiori and Martinelli as Arsenal closed out a huge Champions League win.Part 2 brings Who Am I?, the GW13 prediction game, and a Thanksgiving-themed Six Pack celebrating six reasons to be grateful for Arteta and the standards he's built.The episode closes with a detailed Chelsea preview — line-up debates, the Madueke vs Martinelli question, Odegaard's status, Calafiori's importance, Chelsea's threats (including Estevão and “Angry Matt Dillon” Neto) and what Sunday could mean for Arsenal's title position heading into December.Chapters:(00:00) – Arteta's Non-Negotiables Intro(01:40) – Line-Up Reaction(03:27) – Bayern's Early Possession(05:20) – Timber's Goal(07:09) – Saka Agendas(08:56) – Eze Chance Debate(10:21) – Bayern Equalise(11:37) – Skelly's Positioning Talk(13:46) – Half-Time Thoughts(15:45) – Rice Takes Over the Second Half(16:58) – Madueke In for Trossard / Missed Chances(19:51) – Noni's First Goal for Arsenal(22:08) – Calafiori Masterclass / Merino Flowers(24:50) – Martinelli's Goal(26:23) – By The Numbers: Arsenal Dominate(29:07) – PT.2 Who Am I? (Game)(30:27) – GW13 Prediction Game(33:35) – Six Pack (Arteta Thanksgiving Edition)(36:17) – Chelsea Preview(37:52) – Line-Up Debate: Martinelli, Noni or Trossard?(39:03) – Odegaard Decision: Start or Bench?(43:09) – Chelsea's Threats: Estevão & Angry Matt Dillon (Pedro Neto)(44:50) – Title Race Positioning After Bayern & Chelsea(46:35) – Arteta's Standards & Mentality Talk(49:51) – Who Am I (Game) Reveal & Sign-Off

Researcher and documentarian Brian Seech joins us to talk about his 40 years of studying and gathering evidence.

Allen and Joel sit down with Michael McQueenie, Head of Sales for SkySpecs in Europe at the SkySpecs Customer Forum. They discuss the booming European wind energy market, SkySpecs’ role in asset management, and their expansion into solar farm operations. Sign up now for Uptime Tech News, our weekly email update on all things wind technology. This episode is sponsored by Weather Guard Lightning Tech. Learn more about Weather Guard’s StrikeTape Wind Turbine LPS retrofit. Follow the show on Facebook, YouTube, Twitter, Linkedin and visit Weather Guard on the web. And subscribe to Rosemary Barnes’ YouTube channel here. Have a question we can answer on the show? Email us! Welcome to Uptime Spotlight, shining Light on Wind Energy’s brightest innovators. This is the Progress Powering Tomorrow. Allen Hall: Welcome to the Uptime Wind Energy Podcast Spotlight. I have Joel Saxum with me. I’m Allen Hall, the host, and we are here with Michael McQueenie head of sales for SkySpecs over in Europe. Michael, welcome to the show. Michael McQueenie: Thanks for having me. Allen Hall: We are at SkySpecs customer Form 2025 and it has been a blowout event, so many operators from all over learning and exchanging information about how they operate their assets. We wanted to have you on today because you’re our reference to Europe and what is happening with SkySpecs in Europe. America and Europe are on different pathways at the moment. What is that status right now in Europe? What are people calling you for today? Michael McQueenie: the, European market is really booming. we get calls from customers to support [00:01:00] with internal inspections, external inspections as we always have for, nearly a decade now. We are seeing a lot more, discussions around the, enablement services that we can offer. how did, how do we bring a blade engineer and how do we bring a CMS engineer into support and give us, give us more of an insight on the data that we have or, or the data that Skys fix are producing. things are evolving. and, it’s a buoyant offshore industry at the moment. Allen Hall: yeah, there’s like thousands of turbines going up right now. it used to be when you thought of. Deployment. Unlike Germany, for example, it’d be three turbines on the hillside. Michael McQueenie: Yeah. Allen Hall: Now we’re talking about in the uk have hundreds of turbines hitting the water. Michael McQueenie: Yeah. Allen Hall: And that’s change of scale has driven a lot of operators realize I need expertise in blades, I need expertise in CMS. I need an expert in gearbox, but I don’t necessarily need them full time. Michael McQueenie: Yeah. Allen Hall: Skys spec. Can you help me? Michael McQueenie: the projects [00:02:00] are, they’re fewer projects, but they’re, the scale of these projects are massive. the scale of the turbine scale of the projects and the impact the projects can have on, the country, as a whole is, is massive. So yeah, it’s, it is a. It’s a, it is a great time to be in Europe and to see the growth. it’s been, coming for a long time. I’ve worked with consultancies who are looking at feasibility studies, in offshore, and onshore. But the, the growth has been. Just, it’s just around the corner. And I do feel like now with some of these big projects that they’re installing, and yeah, just given the size of the turbines, it’s it’s massive. Joel Saxum: one of the things I want to, I think there’s an important context here is that we’re talking, we’re sitting in Ann Arbor, right? we’re in the us You’re over in Europe. I worked for a Danish company for a while and it was always like this seven hour delay. Kinda can I get the in, can I get the support? Can they get the support? Can we work? How do we work back and forth? Sometimes it was cool because you’d send an email at two o’clock and when you woke up in the morning [00:03:00] it was done. That was awesome. But also there was these delays. Now this is the interesting thing here is, and Skys facts. This morning we listened to Cheryl. always a great presentation. Yeah. the head of the TEI blade stuff here. She was delivering some insights, but with her was Thomas. Thomas is in Europe. And you have CMS experts in Europe. You have the local talent that’s over there that can work with these operators on their timelines, on their regular day stuff. They’re not waiting as, and what I’m trying to get to is, is SkySpecs is not a Ann Arbor company. Skyspace is a global company in a big way. And so this, so thinking like, oh, this is an American company, w. Will we use someone that’s more local no. No. Skyspace is a local European company as well. Michael McQueenie: Yeah, and we’ve got the SMEs over there. it’s not just Cheryl, who’s a fantastic en engineer. Having your at your, disposal, Thomas is phenomenal. customers are seeing real value in integrating him into their team, being the SME [00:04:00] for them, as you, as we said before. Being able to turn ’em off, on and off as required. Don’t, you’ve not got that the FTE cost right. to bring in an SME that, that needs to, support you with a, with an individual component of your, asset. Yeah. Blades are a huge problem. The industry’s seeing that as they’re getting bigger, the problems are getting bigger. but yeah, having, a local presence in Europe is, massive. my inbox is full from, all the US. Inquiries and issues, during the night, just like you’re saying. Yeah. And I wake up to dozens of emails with, requirements on inbox and my to-do list is full. But the, but the reality is yeah, we’re, grown in Europe. we are. Our real solid presence in Europe and we’ve, seen massive growth this year. Joel Saxum: I think it, it’s part of the value chain there. Touching on the Thomas and Cheryl. Right. So in SkySpecs over this week, we’ve been talking more and more about the, how you guys like to specifically work within a workflow. And that workflow being we have [00:05:00]inspections, we’re in the platform now we’re in horizon, bam. And we can enable the tech enabled services, which is those SMEs which you have inside. The company and then rolling that forward to the repair vendor management, which is happening in a big way in the States. Yesterday I saw a number, $13 million in repairs managed by the Sky Spec team. That’s huge. And, that same capability. And we’re just talking blazes right now, like we haven’t even touched on CMS performance monitoring, financial asset monitoring. That same concept is, is replica replicate in the EU as well. Michael McQueenie: No, it absolutely is, Our customers have got problems, we can help them with the problems. Thomas is, as you said, we work in workflows and Thomas is, is looking to support customers with how they, touch their data as few times as they possibly can. How do we get from A to B and how does a customer understand what their problems are and how they fix the problems? And sometimes an [00:06:00]SME is the, way to fix that. Thomas has provide, provided huge value to our customers. The design of workflows in Horizon is the, essence. It exists just to try and get from A to B and, and try and drive insights and then next steps. And I think that’s the important part, being, this is the action to Joel Saxum: get Michael McQueenie: to the, we’ve got the data, we understand what the data’s telling us. here’s an insight, but actually what is the follow up? And, Thomas is designing that follow up for our customers and providing the support. Allen Hall: and just a little bit comparison between the United States and Europe, when we still talk to anybody in the United States about a turbine. Almost always, it’s a two megawatt, one and a half megawatt turbine, right? Occasionally a four. Sometimes someone says Joel Saxum: yesterday like, oh, that’s a three megawatt Allen Hall: turbine. Whoa, what’s big? And in Europe, three megawatts was like years ago, particularly offshore that, everything’s 6, 8, 10. Michael McQueenie: Yeah. Allen Hall: Plus Michael McQueenie: 3.6 was the common [00:07:00] turbine. Five, eight. Allen Hall: Yeah. Michael McQueenie: Years ago, that was, what everyone was working on. And, they’re a very reliable turbine. It’s, there was a reason why there were so many of them installed at that time. but nowadays, we’re helping OEMs with 50 megawatt turbines. Allen Hall: and I think that’s the, thing that we just don’t see in the states is a turbine that’s 15 megawatts is down for a day. Is so much more expensive and particularly offshore and the expenses go astronomical compared to onshore. Yeah, and Michael, I always see your position of you’re there to save. Millions of pounds or millions, of euros all the time because a shutdown there is huge. Joel Saxum: Yeah. Allen Hall: And because the grids are changing so much in Europe where they’re becoming more solar and wind dependent and coal is going to change away. And Joel Saxum: triage. Allen Hall: Yeah. The triage bit, is that the SkySpecs is in that position to really help a lot our operators out. You’re [00:08:00] providing the insights and the guidance and the knowledge that. An operator probably doesn’t have, because they don’t have the staff to go do it. It’s a And can you enlighten us like what that is because we just don’t see a lot of that here. Michael McQueenie: Yeah. I think there’s a good reason you don’t see that this was, we are just providing data to some of these, transactions. Whether it’s a due diligence, inspection, or an end of warranty. We are just providing the insights for the customers to. Make their own decisions. Um, so it’s not a SkySpecs decision. We are just providing insights to, to allow them to make a, smart, educated, data-driven decision. Joel Saxum: I think that’s important, concept too. ’cause like here, the Skys spec user form, of course, we’re in the States, so we’ve been talking and I think there’s only two or three people here from. Yeah. From overseas. So we’ve been talking a lot about the one big, beautiful, what it means. That doesn’t mean that much to you in your daily life, right? No. But your daily life is a bit different with, you have more of a focus on. Maybe financial asset owners. ’cause the market’s different, right? Michael McQueenie: yeah. Absolutely. The, [00:09:00] simplification of process and actually having a workflow no matter what, it’s, whether we’re taking financial data, CMS data or performance, SC data, The simplification of that process and driving insights from it is literally the foundation of what SkySpecs have been here to do. So providing, financial institutions funds with the ability to. Reach out and, make quick decisions, data-driven decisions. there’s some very smart people in these organizations, asset managers who are, A costly resource to the fund. What they really need to do is pull le pull levers as in when it’s required to. We need some support with sc. We need some support with blades. How do we, how do they, bring that resource and that expertise in house without having the FTE? and the funds are, phenomenal companies. They’re, growing fast. They don’t want the linear growth of people. to go along with that, that, growth of their portfolio. So it’s important that we build relationships and make sure that we’re helping them [00:10:00] in every side of their business, whether it’s financial decisions or, technical decisions. Joel Saxum: I think there’s a, there’s an important takeaway from this week as well, listening to all the SkySpecs, the people, the presentations, the communications, the, collaborations, the conversations. Some of ’em a little bit later at night than other ones. I, won’t name any names, but. Listening to those things and understanding this. So a few weeks ago when I was talking with, we talked with Josh Garrell a little bit ago, and I, shared this with him. I saw a McKinsey report that said, SkySpecs, inspection company. SkySpecs to me is not an inspection company. they do the best inspections in the world, in wind, in my opinion. Yes. However, there’s so much more, there’s so much more there. And it is, it’s really a full support in my opinion, for the CMS to scada, the performance monitoring, the financial asset modeling, the tech enabled insights, repair, vendor management. There’s so many other solutions within this umbrella that I think a lot of people don’t see. Allen Hall: And the one case study that came up yesterday, Michael, I think [00:11:00] that I found interesting was the offshore. Inspections before blades are hung. Yeah. And we see a lot of times in the states where blades are damaged in transport, we think, okay, yeah, the truck damaged it. Okay, fine, we can fix it on the ground. But on the offshore case, that simple repair now has to happen out in the ocean, and that goes from a couple of thousand dollars to 10. Pounds to tens of thousands of pounds or more to get that resolved. And you had a case just like that. Michael McQueenie: Yeah, and I think it’s hundreds of thousands if we’re being honest. Yeah. If you start looking at vessel costs, crew costs, everything else. But actually what I like about it is that OEMs are actually becoming way more proactive because they know the cost of an up tower repair compared to, an onshore repair. So having the foresight to. Have the inspections completed at the right time. Working with us on timelines, using technology to perform the inspections, getting through as many as we can, as quickly as we can, [00:12:00] addressing the problems, doing the analysis, and then actually solving the problem before it goes offshore is massive drainage that, how many times is a bleed lifted from the factory to installation. Lot. It’s a lot. It’s a lot, It’s handled a lot. So there’s a opportunity for something to go wrong, as you said, oh, it’s been knocked, it’s, there’s something wrong. Something’s happened. but solving that is the OEM’s responsibility. So they’re becoming much more proactive in my opinion. we’ve, we’ve had a lot of use cases this week, and it’s always been about the, owners, the operators, how we’ve saved them money, how we provided them value. The OEMs are looking to us to help them on that front as well, whether it’s robotic or whether it’s, providing analysis or, or a platform to, to manage the data. we are working with, with them in offshore, but the problems are so much bigger. Allen Hall: I think the OEMs are learning from Skys spec, so watching what operators are doing to hedge their bets to protect their assets. And SkySpecs is pretty much involved in all of that. [00:13:00] Now the OEMs are watching the operators saying, why are we not doing that? We’re seeing that in Joel Saxum: the lightning. Allen Hall: Absolutely. We’re seeing enlightening. We’re seeing it in CMS now. We’re seeing it in a number of areas where the OEMs have watched SkySpecs maneuver and provide better value to their customers that the OEMs are trying to mirror, Joel Saxum: I touch on another case study because Alan, you and I sat in on this one yesterday, and if so, I’m gonna put my, my, I’m a European operator hat on. and this is a little weird. I don’t, I have a good accent. Not, I’m not gonna try that, but okay. Say I’m going to, I have a smaller wind farm, right? So I may have, 20 turbines of a specific model, and I would like to understand where am I at for performance benchmarking? Am I doing well or not? I don’t have a huge fleet. European fleets are not that big unless you’re offshore. As specifically compared to the US where our wind farms are a hundred, 120 turbines. Sun Z is a thousand turbines, right? That’s a wind farm. So the problem is different, [00:14:00] but Skys spec has that data. If this is your site, let’s look at how your site is doing compared to. These 1500 of the same models around the world. And then you can look at that, understand your performance benchmark, and then start diving into the issues that may be causing it, to not perform as well. And then fixing them and getting it up to speed to what it should be compared to everybody else. And I thought, man, what a use case, especially in the European market. Michael McQueenie: No, absolutely. and we always talk about benchmarking. We’ve, I’ve been with companies who have tried benchmarking in the past, looking at KPIs. How do you benchmark your performance of your turbine against something similar? And I think Skyspace are starting to get that right. we’ve, got the sc the scatter data and looking at the biggest impact in damages or the biggest failure faults that you have on your turbine and how we, how it can help you. Push the OEMs. Yeah, just give them a prod to, Joel Saxum: we saw Michael McQueenie: case studies on that Joel Saxum: yesterday. Michael McQueenie: The case studies we’ve seen this week have actually been incredible, and that’s probably the, biggest takeaway for a lot of [00:15:00]people. Just try and understand how we’ve helped. The, customers achiever a return or, what we’ve saved them, over time. those have been probably the biggest takeaway for me this week. just people are starting to understand and appreciate the returns they could see if they engage with us on all these other products. But the performance side of thing, benchmarking is, a really interesting topic. Completely away from just looking at performance data. Everyone in the room over the last couple of days. Is, dancing around the, topic of benchmarking because, they’re, very, protective of the data. Yes. but I think people, and we’ve spoke about maybe for the last 12 months, they have shown an interest in, oh, I can share some data and if it’s anonymized, that I’d be happy to take part in that. But. I’d love to see, that taking a step further, I’d love to see that. I think everyone in the industry, everyone in that room would benefit from, [00:16:00]from data sharing to, to learn from each other with freely optimiz data. Yeah, absolutely. Allen Hall: there have been a number of announcements this week also from SkySpecs. Some of the bigger ones are the move into solar and Europe. There’s a lot of solar power in Europe, particularly some parts of Europe. That could be a massive amount of phone calls your way, Michael. oh, sky Spec is doing blades. Turbines and solar. I’ll take it. Joel Saxum: Yeah. Allen Hall: And I think there’s been a huge demand for that for the last several years, but it’s just been, you’ve been so busy with turbine problems, so honestly that you haven’t had the ability to get to solar. Now with some of the tools you just brought in, you can. Michael McQueenie: Yeah, I think we, we started off just blades, as we all know. Yeah. As you said, if we were just an inspection company. the acquisitions we’ve made, over the last few years have been taking us to the point where we’re now covering full turbine asset health monitoring. And that was an important part. once we achieve that, now you can, you gain a [00:17:00] bit of clarity. we can start to look at diversification into new asset types. Solar’s been something I’m asked about once a month from European customers, and prospects. So we’ve tempered expectations for quite a long time. We, we know we were going to move into solar at some point. we’ve got, we’ve got a really big opportunity I think, we’re very well positioned to, to help solar operators. Yeah, Allen Hall: I think, I think there’s the variability in solar. From the different manufacturer. There’s so many manufacturers of panels and are inverters and even some of the configurations, the, support structures have issues, but SkyScan specs is gonna make that a lot easier because the tools are better now than they were five years ago. Michael McQueenie: Yeah, no, absolutely. And we’ve got a massive customer base with that mix of wind, solar battery. So we, have to come up with that solution and, the tools are perfectly placed. Allen Hall: Yeah. Michael McQueenie: It’s the same engineers that will be asked. Joel Saxum: See Michael McQueenie: now [00:18:00] you’re dealing with solar. There’ll be no questions asked. There will be. That’s happening already. You fixed wind for us. There’s, I’m gonna change your job description as wind engineer plus solar. Allen Hall: Yeah. And then it’s gonna be plus Allen Hall: best, right? Michael McQueenie: That, reviewable energy engineer, Joel Saxum: that’s what it will be. But I think there’s a, there’s some things here too to share with the European crowd is, there has been some strategic additions to the leadership team, Ben Token coming on as the CTO helping with some of that data architecture in the background. And then what will be the future of you guys have, there’s always work to be done, right? But have gotten really close to having a big, perfect little model of this is how you manage a wind asset. now that can be control C, C control V, solar, control C control V best, and that’s the future of what Skys spec is going to become a renewable energy company. And that’s the future. Michael McQueenie: Yeah. I think that the additions to the business have been pretty visionary. Yeah. rich and Ben are both. Phenomenal individuals will, that will drive us to, success in all these other areas. [00:19:00] rich has, been part of the business and has from the board from a, for a number of years now, and, I think he’s now seeing the. How special the business is. How special it could be. Yeah. Once we, start that diversification. Joel Saxum: Yeah. I’ve seen Rich here at the, ’cause we are in Ann Arbor at the forum. It’s Wednesday. So we’ve, we’re on day two, and I’ve seen Rich floating around talking with some of the customers, talking with a lot of the SkySpecs employees. I’ve had a few conversations with him and. That man has a big smile on his face all day long. Michael McQueenie: Yeah. Joel Saxum: He sees the opportunity. he’s happy to engage. He wants to talk with people. he’s gonna be a big part of the future of the group. And I, think it’s exciting to see him here. Michael McQueenie: He really has, I think both of them have, really accelerated the excitement and the, development of all the tools. everyone’s rallying behind them to Joel Saxum: Yeah. Michael McQueenie: to try and make sure that, we, get to the next tech. Joel Saxum: Yeah. Last night we talked with, Ben about big data and analytics. We’re recording it now. So we’re, telling we’re gonna try to get him down to [00:20:00] Australia to speak to the Australian crowd during our event down there in February about big data analytics and his background, what Skys books is doing with it. Allen Hall: Yeah. And big data is the future. Everybody knew it three years ago. Yeah. We’re finally at the level we can start processing it and make use of it. I think Michael, you’re in a unique position and SkySpecs is in a really unique position in Europe. The world is looking to Europe on renewables. The expansion of renewables, how coal has essentially gone away. Gas is still kicking around. France has a, still a good bit of nuclear and rightly It’s a great resource for them. but the solar, wind battery play is gonna be the, big push over the next several years. Without SkySpecs, it’s gonna be really hard to be successful there and to get the revenue stream that you expected out of it. Your phone has to be ringing off the hook all the time. Yeah. Michael McQueenie: The, co-location story has been building momentum for a couple of years now, and right now it’s [00:21:00] just, everyone’s talking about it, the battery, adding batteries to sites and co-locating solar with wind. And, yeah, it’s, been, it is a really exciting thing. it’s skys picks are really well positioned to help every one of them. Allen Hall: So how do people get ahold of you? And is LinkedIn the best place? Just go, Michael McQueenie and SkySpecs. Michael McQueenie: Yeah, most people, I’m fairly well connected in the European market. A lot of people will have my details, but yeah, LinkedIn, absolutely. Allen Hall: Okay, great. Michael, I love having you, on webinars and in person for these, interview sessions because Joel and I learn so much. you’re just a great resource and if you’re interested in SkySpecs and, and the services that they offer. In Europe, get ahold of Michael. He will get you set up and get you into the horizon platform and get you solutions. So Michael, thank you so much for being on the podcast. Michael McQueenie: Thank Allen Hall: you very much for it. It’s been [00:22:00] great.

Sister Elaine Dalton joined us for this very special episode of the podcast, recorded live at Magnify's Lift Up Your Heart event in Salt Lake City! Sister Dalton shares how we are the women spoken of by President Kimball and later by President Nelson, women who will change the world in distinct and happy ways through our testimonies and covenant conviction to the gospel of Jesus Christ. With warmth and love, she reminds us that we're not meant to sit on the sidelines—we each have a divine mission and part in the Lord's great work.  "The impact that you will have in these latter days is just phenomenal!" —Sister Elaine Dalton Sister Elaine Dalton served as Young Women General President from 2008 through 2013, and since then she has continued her mission of reminding women of their divine identity and unique capacity to lift, strengthen, and change the world around them for good.  Notes:  Join us on Instagram! @magnifycommunity Learn more about Magnify! magnifythegood.com Read more from Sister Dalton: A Return to Virtue

Instagram Youtube TiktokSpotifyBio Clinton Brand III, better known as CBIII, is a California-based rapper whose new single “I Won't Quit” delivers a motivational and relatable message for anyone facing hardship. Produced by Tunna Beats, the track carries a Blurry Face energy. It opens with a violin and the soft vocalizations of featured singer Alex Brinkley. When the beat drops, piano, bass, and drums blend with CBIII's reflections on overthinking, contemplating, and debating why he refuses to give up.Lines such as:Sad but I should be filled with joy.Played with my heart just like it was a toy.But the truth is I'm tired of venting.This constant feeling is relentless.Nobody wants to listen and everyone is a critic.Hate my life but I won't give up, I can't give in.illustrate the emotional tension of the song. “I Won't Quit” confronts the fear of failure—what if I'm not good enough—while contrasting it with the resilience expressed in the title.The song's final quatrain is especially powerful. Beginning with CBIII's signature wordplay, the message ultimately becomes one of determination and positive change:Phenomenal and astronomical anomaly, that's what I would like to be.I don't want to eat, I don't want to sleep.Tired of this life, the way that I've been living.It's time to make a change for the greater good.This battle with self-doubt and constant overthinking makes “I Won't Quit” deeply relatable. CBIII hopes listeners feel inspired to stay strong when they face similar struggles.The inspiration behind the song is intensely personal. After losing both parents at a young age, Brand was raised by his grandmother and later entered foster care. A recent visit, during which he saw his grandmother's memory fading, was painful for him because she had once been his greatest supporter. It left him feeling abandoned and in a dark place.“I wrote the song ‘I Won't Quit' because at that time I was suicidal. I didn't have anybody else to turn to because my grandma didn't really care anymore,” he shares.The vulnerability in the lyrics initially made him hesitant to release the track. “I actually sat on the song for about five months before even thinking about releasing it because it is so close to home that I wasn't sure if I would have the courage to share it.”Now that the song is out, that vulnerability has become its greatest strength. Many listeners can identify with the experience of missing family support, doubting themselves, and still knowing they must push forward.Beyond his personal drive to achieve greatness, Brand has another powerful motivation: his younger brother, who is also in foster care. Knowing his brother looks up to him, he wants to be an example that resilience matters.Become a supporter of this podcast: https://www.spreaker.com/podcast/creator-to-creators-with-meosha-bean--4460322/support.

Phenomenal skill gets you noticed—but phenomenal will makes you unstoppable. In this episode, Ryan explores the powerful difference between what you can measure and what you can't. From the 10,000-hour rule to Angela Duckworth's research on grit, and the inspiring story of Jamie Kern Lima—who turned rejection after rejection into a $1.2 billion success—this episode reminds us that talent might open the door, but perseverance keeps you in the room. Skill helps you start. Will helps you finish.

This is PHENOMENAL.Jack was First Minister of Scotland 2001-2007. It was a tumultuous global time and he found himself at the centre of it at the Gleneagles summit.His stories about George W. Bush and Vladimir Putin are incredible.But there's loads more in this. Jack became the leader of a local authority at just 29. He'd joined the SNP at 16, but became a Labour member at 19. It would change the course of his life and he would have a huge impact on the future of Scotland and the UK.THE POLITICAL PARTY LIVE8 December: Nick Clegg26 January: Special VIP Guest16 February: David Miliband9 March: Zack Polanskihttps://nimaxtheatres.com/shows/the-political-party-with-matt-forde/ SEE Matt's brand new stand-up tour 'Defying Calamity' across the UK:https://www.mattforde.com/live-shows Hosted on Acast. See acast.com/privacy for more information.

Welcome to Omni Talk's Retail Daily Minute, sponsored by Mirakl. In today's Retail Daily Minute, Omni Talk's Chris Walton discusses:Wayfair plans to test a smaller 70,000 square-foot store format in Columbus, Ohio, about half the size of its large-format locations.Dollar General names Travis Nixon as SVP of AI Optimization in a newly created role, tasking the former Dropbox, Meta and Microsoft executive with integrating AI across supply chain, store operations and merchandising.Constructor unveils its AI Product Insights Agent (PIA) for product detail pages, with early adopters seeing a 52% increase in add-to-cart rate and 56% increase in purchase rate from engaged shoppers.The Retail Daily Minute has been rocketing up the Feedspot charts, so stay informed with Omni Talk's Retail Daily Minute, your source for the latest and most important retail insights. Be careful out there!

This week, we are celebrating a major milestone: Fertility Rally Live #10. Ten Rallies. Ten waves of community, connection, truth-telling, sisterhood, messy feelings, breakthroughs, belly laughs, and being so deeply seen.To honor this moment, we're revisiting one of the most unforgettable keynotes in Rally Live history: singer Christina Perri's beautifully raw, breathtaking, and generous conversation about love, loss, grief, family building, and hope.Whether you were there live or are hearing this for the first time, we hope this conversation finds you gently, wherever you are on your path. We are so grateful to Christina for sharing her beautiful truth, and for every single one of you who has shown up for yourself and each other over these ten Rallies.Mark your calendars: Fertility Rally Live #10 is happening November 14. Even if you can't come live, snag your ticket because you have 30 days to watch all of the talks! Plus you get our Virtual Swag Bag!

Revival or Civil War? • Fire Power! #firepower #mariomurillo #toddcoconato #revival #civilwar #riots #paidprotesters We are at a fork in the road where there's no middle ground. We're either going to have civil war or we're going to have revival. That's chilling, but it's true. Is there hope? Phenomenal hope. You'll find tonight out in this edition of Fire Power! https://toddcoconato.com/give https://mariomurillo.org/

Sadhguru delves into what makes the time of 3:40 AM or “Brahma Muhurtam” significant, particularly for spiritual seekers, and also explains how one can make the most of it. Set the context for a joyful, exuberant day with a short, powerful message from Sadhguru. Explore a range of subjects with Sadhguru, discover how every aspect of life can be a stepping stone, and learn to make the most of the potential that a human being embodies.  Conscious Planet: ⁠https://www.consciousplanet.org⁠ Sadhguru App (Download): ⁠https://onelink.to/sadhguru__app⁠ Official Sadhguru Website: ⁠https://isha.sadhguru.org⁠ Sadhguru Exclusive: ⁠https://isha.sadhguru.org/in/en/sadhguru-exclusive⁠ Inner Engineering Link: isha.co/ieo-podcast Yogi, mystic and visionary, Sadhguru is a spiritual master with a difference. An arresting blend of profundity and pragmatism, his life and work serves as a reminder that yoga is a contemporary science, vitally relevant to our times. Learn more about your ad choices. Visit megaphone.fm/adchoices