Podcasts about Regis

Tamara recently took a travel agent FAM trip to Turks and Caicos and spent two nights at The Palms and two nights at The Shore Club. She also visited many other properties and today she shares her insights into each to help you decide where to stay in Turks and Caicos. Episode Highlights Turks and Caicos is known for its beautiful beaches and not for all-inclusives or as a party island Most of the hotels have great accommodations for families with 1, 2, 3-bedroom accommodations and up (including villa rentals) When arriving, be prepared for a long wait at passport control/immigration. Expect about an hour and longer on the weekends. When departing, leave 2-3 hours to get checked in and wait in the security line. There isn't a lot of room in the gate area but there is an area upstairs that has more space. To save time at the airport, you can pay for Fast Track access starting at $75 per person, each way. Private transfers from the airport are about $150 each way, but cabs can be $30+ per person for shared taxis. Taxis throughout the island are priced per person and are pricey. It is about a 15-20 minute drive from the PLS (Providenciales) to most of the hotels The Palms is on Grace Bay Beach (the most famous beach on the island). It is a luxury hotel with a lush, garden-like setting right on the beach. The style and decor is similar to Sandy Lane in Barbados, a colonial or plantation style. Tamara stayed in a one-bedroom suite oceanfront, which was huge with a full kitchen, living room, laundry, dining room, large balcony, bedroom with tons of closet space, and one and one-half bathrooms. They recently did a renovation at The Palms of rooms but also of the pool area and added a new pool/beach restaurant and pool bar (including a swim-up bar). The restaurants at The Palms were very good. Parallel 23 is fine dining and Sisi is modern Mexican. The Palms also has one of the best spas in the Caribbean The high season is during Festive (winter holidays) and President's Day weekend. The low season would be July-September Pricing in the Caribbean is quite high. The Shore Club is across the island on Long Bay Beach. There is a beach-to-beach package so that you can split your week vacation between the two properties. Long Bay Beach is breezy and very popular for kite surfing. The beach itself is narrow but long and The Shore Club has plenty of space to spread out. The water here is very calm and you can walk out very far, especially at low tide. Shore Club is also a luxury hotel and it has a sophisticated feel. There are villas and multi-bedroom accommodations that would be amazing for a girls' trip or multi-generational vacation. The one-bedroom oceanfront suite is huge and great for families with teens because there is a study that has a pull-out couch, full bathroom, and closets and a door that closes off from the rest of the space. There is another pull out couch in the living room. There is a sushi restaurant and a comfort food restaurant, plus pool bars and restaurants. There is a shuttle between the properties and also the four-star Sands property and guests have signing privileges for all the restaurants. The Alexandra Resort is a four-star, all-inclusive on Grace Bay next to The Palms with multi-bedroom suites and restaurants The Wymara Resort has a South Beach, sexy vibe that would be great for couples and honeymooners but the rooms are a bit smaller The Ritz-Carlton is a high-rise hotel with a smaller beach. The second tower is for Ritz-Carlton Residences and you can't use or earn points for the Residences. They are building an Andaz and St. Regis on Turks and Caicos now too. The H20 Resort on Long Bay Beach is a small boutique hotel that is good for people that are independent travelers and enjoy watersports as they have a kite surfing school and tons of rentals. Tamara is going back to Turks and Caicos in the fall for a Family Travel Association conference at Beaches Turks and Caicos (stay tuned!!) On Thursday nights there is a fish fry with food trucks, music, and artisans/souvenir vendors. The Junkanoo band performs and it is such a lot of fun. You can island hop by ferry or plane (but there is a separate terminal for domestic flights) You can also go scuba diving, snorkeling, charter a boat for fishing or island hopping, or boat out to the tiki bar off Long Bay Beach.

May 9-16, 1998 This week Ken welcomes comedian behind the new comedy LP "Beach Brain", Andy Woodhull. Ken and Andy discuss being live via sattellite, coast to coast, refusing to partake in daylight savings time, having never read a TV Guide, having a stand up bit that never works but you refuse to dump it, when fonts are too small, growing up in Indiana, refusing reality, supper, even uglier Jerry Seinfeld, Jerry Seinfeld dating a teenage girl, your dad buying a Playboy for your teenage friend (when your dad isn't Jerry Seinfeld), Jenny McCarthy, when Seinfeld ended, how Michael Jordan was so famous that even cardboard cutouts of him got ad deals, graduation speeches, how milk chocolate is for children, Jerry Seinfeld picking up teenagers in Central Park, Regis, claiming change is bad, Beetlejuice, Dunkaroos, Saturday Morning Cartoons, how the Babe movies fit into the Mad Max universe, David Ducovney 's music career, not buttoning shirts, America's Funniest Home Videos, being a part of the Vin De Bona family, hosting Totally Funny Animals, Daisey Fuentes, ska remake of theme songs, Matlock, JAG, Jag offs, The Good Wife being watched by your wife, unexpected character deaths, Tony Clifton, seeing your friend prosecute a terribly disturbing case in court, avoiding Miss Universe, Home Improvement, sitcoms based on stand up acts, Geriatric indecent proposals, shows we pitched that never went, divorces, TeenBeat, Mad About You, having the juice to make your TV show commercial free, learning the word "epiphanic", Paul Reiser, the death of Chris Farley, Just Shoot Me, the original voice of Shrek, auditioning for the part of Robin in Batman, T2, people hating the Seinfeld finale, Police Squad, loving The Naked Gun, why Ken should avoid the Lord of the Rings movies, how Andy rewatches the LOTR series every year, Airplane, 30 Rock, and not asking for a short history of bullsh*t.   

Charla con la Dra. Gerogina Martínez, Profesora Investigadora en el Instituto de Ciencias Sociales, y los estudiantes de la Maestría en Estudios Interdisciplinarios de Género: Lic. Jesús Martín Regis y Lic. Michelle Espinoza.

When it comes to His family, God desires peace.

SUMMARY: JJ is in The Churn, asking what month this is, does "The Radio Test," and lauds how Matt's act would kill on a Disney cruise. We talk about people dying on cruise ships, Regis and Kathie Lee, and love for Donny Osmond and Hugh Jackman. Also, why can't lesbians cook? And it's a Hall of Fame Scoopardy II.

Regis v. Collins

The 3 friends of Daniel find themselves in the fire in Babylon; how will they respond?

In today's passage, Paul finally ends his prayer; and he ends it with a bang!

Paul never ceased to wonder about the gigantic nature of God's plan to save His people.

God reveals the mystery. Daniel saves the day.

I 14 miliardi da destinare alle imprese attraverso la revisione del Pnrr "si riferiscono a somme attualmente non utilizzate all'interno del Pnrr. Riteniamo di utilizzarle a prescindere dai dazi, per accelerare la competitività delle nostre imprese. Riteniamo di utilizzare quelle risorse anche su altre linee di finanziamento che possano trovare nelle imprese adeguata rispondenza". Così il ministro per gli Affari europei, il Sud, le Politiche di Coesione e il Pnrr, Tommaso Foti, in risposta al question time di oggi, sulle risorse del Pnrr da utilizzare per interventi di contrasto ai dazi. Secondo l'Upb in merito all'attuazione del Pnrr: "Dalle informazioni disponibili in ReGiS all'8 aprile 2025, emerge che è stato attivato il 95% della dotazione finanziaria complessiva e che la spesa sostenuta ammonta a 64,1 miliardi (33%), di cui 27,3 miliardi relativi a Superbonus e crediti d'imposta". Quindi rischiano di essere molti i soldi da "ricollocare" da qui al 2026 per non perdere i finanziamenti. Per Openpolis al momento sono circa 50 i miliardi non ancora destinati del Pnrr che potrebbero essere "spostati" per altre voci di spesa (aiuti alle aziende o in difesa). Ma è necessaria ovviamente una revisione a Bruxelles. Interviene su questo Luca Dal Poggetto, Analista di Openpolis esperto di Pnrr.Il risiko entra nel vivo?UniCredit lancerà lunedì l'OPS su Banco BPM, ma senza escludere un futuro ricorso contro il provvedimento del Comitato Golden Power, che ha imposto vincoli giudicati eccessivi. Tra questi, il mantenimento di un rapporto impieghi/depositi al 120%, la continuità del project finance, la stabilità degli investimenti di Anima Holding e l'uscita dalla Russia entro nove mesi. UniCredit, pur ritenendo il decreto illegittimo, punta ora a una mediazione col Governo per chiarire il perimetro degli impegni, in parte influenzati dal MEF leghista. Gli analisti di Equita avvertono che tali vincoli potrebbero rallentare l'operazione e penalizzare la posizione patrimoniale. L'offerta resta intanto a sconto del 6,1%. Domani 24 aprile si terrà l'assemblea delle Generali, con un nuovo scontro tra la lista Mediobanca, che sostiene la riconferma dei vertici attuali, e quella di Caltagirone. Oltre alla governance, il nodo strategico centrale è la partnership con Natixis nell'asset management.. Ne parliamo con Alessandro Graziani, Il Sole 24 OreConti disastrosi per Tesla, Musk fa un passo indietro dal DOGE Tesla ha chiuso il primo trimestre 2025 con risultati deludenti: l'utile netto è crollato del 71% a 409 milioni di dollari e i ricavi sono scesi del 9% a 19,34 miliardi, ben al di sotto delle attese. Il comparto auto ha registrato un calo ancora più marcato del 20%, con vendite in forte flessione in USA, Europa (–62% in Germania) e Cina (–22%). Le consegne globali sono diminuite del 13%, mentre il marchio ha subito un danno reputazionale legato alla controversa posizione politica di Elon Musk, che ha affiancato Trump come “zar anti-sprechi”. Le sue scelte, come i licenziamenti di massa e il sostegno alla riduzione della spesa pubblica, hanno suscitato critiche e contribuito al calo delle vendite. Musk ha annunciato che da maggio dedicherà solo due giorni a settimana al suo incarico governativo, riaffermando però il suo impegno nella lotta alla burocrazia. Ha preso le distanze dalle politiche protezionistiche di Trump, pur riconoscendo che la decisione finale spetta al Presidente. Le tensioni commerciali e i dazi stanno complicando le catene di fornitura, aumentando i costi, specie per componenti importati come quelli dal Messico. Nonostante tutto, il mercato sembra guardare oltre: le azioni sono salite del 4,5% dopo la chiusura dei mercati, sostenute dalla narrativa futurista di Musk, che punta su robotaxi a giugno, boom dell'energy business (+67%), lancio del nuovo Model Y economico e sul robot umanoide Optimus nel 2025. Tesla rilancia così su AI e robotica, abbracciando l'idea di un futuro di “abbondanza sostenibile”. Alberto Annicchiarico Il Sole 24 Ore

European markets rallied on hopes of cooling US – China trade tensions. The STOXX 600 gained 1.78%, German's DAX gained more than 3%, France's CAC up more than 2% and the FTSE 100 up 0.9%.  The three major US benchmarks were also all higher, posting back-to-back gains. The Dow Jones advanced 1.07% or 63 points, the S&P500 up 1.67%, while the tech- heavy Nasdaq advanced 2.5%.  What to watch todayThe SPI futures are suggesting the Australian market will rise 0.16% at the open this morning. Looking at commodities, Crude oil has declined 2.24% to US$62.24 per barrel, amid the possibility that OPEC+ may continue to increase supply in upcoming months. The price of gold is trading 0.69% lower at US$3,313.40 an once, after hitting a record of US$3,500 the prior session and contrasting with the rally in other dollar- denominated financial assets that benefited from expectations of a de-escalation in the China and US trade tensions. While iron ore is trading higher, up 0.21% at US$100.09 per tonne. Trading IdeasBell Potter maintains a Buy rating on Telix Pharmaceuticals (ASX:TLX) following a strong quarter of revenue growth. Their 12-month price target remains unchanged at $36.00 and at TLX's current share price of $25.18, this implies 43% share price growth in a year. And Trading Central have identified a bullish signal in Regis Healthcare (ASX:REG) indicating that the stock price may rise from the close of $6.75 to the range of $7.70 to $7.75 over 30 days, according to the standard principles of technical analysis. 

Jesus came to bring peace; just how big is that peace? Quite possibly, bigger than we realize.

Disaster is knocking on the door of Daniel and his friends, literally. How will they react?

Whoops! This is late, but hopefully not too late!

Face à Regis Wargnier, ce 16 avril 2025, Marc-Antoine Le Bret a notamment imité Jean Lassalle, Fabrice Eboué et François Hollande. Retrouvez tous les jours le meilleur des Grosses Têtes en podcast sur RTL.fr et l'application RTL.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Sponsored by It's a 10 Enterprises and Carolyn Aronsonhttps://bit.ly/4iQpTyohttps://bit.ly/4khuGtThttps://bit.ly/447moixhttps://bit.ly/3XFoDWwInterview with Carolyn Aronson:Carolyn Aronson is a successful entrepreneur, philanthropist and the founder and CEO of It's A 10 Haircare, one of the only female-owned professional hair care brands in the world. She announced full ownership of It's A 10 Haircare in 2017 and bought out her partner. In addition, as of November 2020, Carolyn announced the launch of Be A 10 Cosmetics, where she is also the Founder, CEO and owner of the brand. And in 2023, was announced as a co-founder of new men's at-home hair color line, Rewind It 10 alongside her husband, Jeff Aronson and rapper, Fat Joe.A self-made entrepreneur, Aronson began her career with 20+ years as a hair stylist and salon owner and continues to hold licenses in multiple states. It's A 10 Haircare was born out of her frustration with brands that produced dozens of products with single benefits and hard-to-follow claims. She envisioned a line that was for everyone and delivered full, salon-quality results in just one bottle. She began with a star product, Miracle Leave-In, and the line quickly rose to fame through pro hair stylists, who shared the cult-favorite product with their clients. Since then, over 10 million bottles of the Miracle Leave-In are sold annually.Now a successful, global hair product company with a passionate celebrity and consumer following, It's A 10 Haircare products are sold in more than 25,000 professional independent salons and 15,000 professional salon chains like Sally Beauty, Ulta, Cosmoprof, SalonCentric, Regis and more. Furthermore, the brand also announced their launch into the extensions-space, by unveiling their line called, EX10SIONS by Carolyn. Carolyn plans to replicate the same booming success in the makeup industry with Be A 10 Cosmetics, as the brand is answering their customers' needs - the ability to achieve a flawless makeup look in 10 minutes or less. Currently, Carolyn is bringing It's a 10 global, expanding the brand into 100+ countries, including major markets from the UK to India. Some international retailers include Harrod's in the United Kingdom, and Chatters in Canada. In addition to her role as CEO and founder, Carolyn has been the face of her brand, appearing on QVC UK. With the global success of her brand, Carolyn was committed to expanding her influence in the dynamic world of haircare. After being approached by several brands over the years, she acquired Nisim® in December 2023, thanks to her belief in their science-backed formulations, which she is rebranding to Arise by the end of 2025. In January 2025, Carolyn launched Cloud Haircare – a high-performing, affordable, vegan & clean haircare line – at CloudHaircare.com, CVS stores nationwide, and CVS.com. In Q1, the brand will expand to Walmart stores and Walmart.com. With Cloud Haircare, Aronson is expanding her portfolio into the mass retail space, aiming to lead the category with innovative products at accessible prices.Carolyn has a fierce passion to create and provide value to the community, so every brand, formula and product she oversees needs to be a 10 out of 10. It's a 10 Enterprises, a collection of top-quality brands...

We were not just made for more, we were REMADE for more!

Why did Daniel and company want to become vegans?

Don't miss this exciting episode with Drew Burgess! From his world-class expertise to his knack for solving tough challenges, Drew shares how Acro Chat is revolutionizing support for dance teachers and studio owners. Whether you're looking for inspiration, guidance, or just a little TLC, this is the episode you need to hear! About Drew Burgess Ohio native, Drew made his industry debut on Live with Regis during Amazing Kids Week. Upon relocating to California, he trained at L.A.'s best studios including EDGE, Millennium, Fusion, and the PAC Annex. Drew is highly sought after as a performer, choreographer, guest teacher, dance supervisor, & dance captain. Drew can be seen on teaching & adjudication panels for: Chicago National Association of Dance Masters, Dance Teachers Club of Boston, Headliners, DanZa, 10+ Dance Masters of America Regional Chapters, Dance Educators of America, & the Rhee Gold Company. A former competitor himself, Drew's regional titles include Master, Junior, and Teen Mr. Dance of Ohio, as well as, Mr. Dance of the Pacific Coast. Nationally, Drew is a former Jr. Mr. Dance of America and Mr. Dance of America. Drew is certified by test to teach through DMA & DEA in Ballet, Tap, Jazz, & Acrobatics and is an active member in both organizations. Drew is also proud to be Acrobatic Arts Certified (M1-M3) & part of their U.S. Division Staff of Course Conductors & Examiners.Drew's passion for dance circles the globe with guest workshop classes, technique clinics, & choreography, year-round. His corporate & live entertainment credits include performances with the Radio City Rockettes, Taylor Swift, & The Baha Men. Drew's students have accolades including: Teen Miss Dance of Arizona, Male Dancer of the Year, Miss Dance of Ohio, & Mr. Dance of America. His National Choreography merits include the Sherry Gold Memorial Choreography Award from DMA & Best Small Group & Production from NexStar. Drew has toured worldwide with Rasta Thomas' Bad Boys of Dance as a Swing in Rock the Ballet 2 and Romeo & Juliet. He was honored to serve as the Tap Director for four years at Spisak Dance Academy in Glendale, Arizona; and now resides in Columbus, Ohio and is part of of the teaching staff at Straub Dance Center. Find out more about Acro Chat with Drew Burgess: https://www.acrobaticarts.com/training-courses/acrochat-with-drew-burgessFollow Drew on Instagram: @drewdances If you'd like more amazing content more tips and ideas check out our Acrobatic Arts Channel on YouTube. Subscribe Now! Connect with Acrobatic Arts on your favourite social media platform: Instagram: https://www.instagram.com/acrobaticarts/ Facebook: https://www.facebook.com/Acroarts Twitter: https://twitter.com/acrobatic_arts/ Learn more and register for our programs at AcrobaticArts.com

What a great way to kick off the baseball season with a super fun episode about a guy who's whole career was inside the world of sports. Gary Saunders had an exciting career in management and marketing/sales working the minor league baseball circuit. He traveled around the country working for about a dozen different organizations and capped it all with a big time sports exec job at University of Mississippi. You don't need to a sports fan to love this episode. Gary retired to Florida with his wife Eileen. He started what he thought would be a dream retirement and just become a beach bum. Gary who always was a busy guy, soon found himself bored out of his mind and has put together a combination of part-time jobs that as he says, "puts a smile on his face everyday." He went back to his roots and got his dream job being the music/sound guy for the Pittsburgh Pirates Spring Training team and during the summer works for their minor league affiliate. He's a popular radio DJ with the very cool handle of "HoDad" on the Longboat Luau show. What's a "HoDad"? You'll need to listen to the episode. And get this -- he's also a resident butler at the fancy St. Regis hotel. Plus, a whole lot more. Most importantly he's build a really cool community of friends through each of his part-time jobs. This episode is 100% fun and inspiration! You'll dig it all... • More about Gary Saunders: https://www.linkedin.com/in/gary-saunders-4391635/  • Feature about Gary Saunders: https://www.yourobserver.com/news/2023/feb/22/longboat-luau-is-a-labor-of-love-on-wslr/  • Episode Content: https://pickleballmediahq.com/blog/Gary-Saunders-Interview-Sports-Exec-becomes-HoDad-Radio-Personality-and-Minor-League-Baseball-Sound-Machine  • Sponsored by Capital Advantage: https://capitaladvantage.com/promotion/retirement-planning-guide/  • Sponsored by How to Retire and Not Die: https://garysirak.com/how-to-retire-and-not-die/  • Join the "I Used to be Somebody World Tour": https://pickleballmediahq.com/tour/  • Subscribe to the "I Used to be Somebody" newsletter: https://pickleballmediahq.com/contact/subscribe 

What does Christ being the head of the church really mean?

Regis Grice, Crew Chief at Camo Crew Junk Removal, is in the hot seat to break down what he's learned in the trenches—how the job has shaped him both personally and professionally, and the doors it's opened along the way. Learn more: https://camocrewjunkremoval.com/ Experience Jobber for yourself, tell them Andy sent ya: https://go.getjobber.com/CamoCrewJunkRemoval Watch This Episode: https://www.youtube.com/watch?v=-cJj6qB7MZA Subscribe on YouTube: https://www.youtube.com/@trashtalkbusinesspodcast ------- Listen in as industry expert Andy Weins of Camo Crew Responsible Junk Removal, and guests, break it down for you. Join our VIP Listeners Group: https://www.facebook.com/groups/trashtalkbusinessowners Connect with Andy: https://www.linkedin.com/in/andyweins/ Get Andy's Book: https://a.co/d/9uIApkU

Daniel 1:1 and we're already running into some controversy.

We live in a world of validators, franchises and even networks. Duncan Hines, McDonald's and The St. Regis. What if we created a different kind of consortium for creative business? Would we all be able to play nice in the sandbox and change the way clients make their choices? What would the world look like if we did? Original Episode Number: 47 | Original Air Date: 4/13/2021 Links & Resources: Host: Sean Low of The Business of Being Creative Talk Back Guest: Carl Clemetson of Hometown Elegance Events and Catering Link: Join Sean's Collective of Business Creatives Follow Sean on social media: Instagram: @SeanLow1 | Facebook: Facebook.com/Sean.Low.35 | LinkedIn | Twitter: @SeanLow Have an opinion on Sean's tips and advice? Talk Back!! Email Sean. -- Podcast Network: The Wedding Biz Network Production House: Flint Stone Media Copyright of The Wedding Biz, LLC. 2021.

In Christ, we get heaven and God gets us! -- Kenny Boles

Why is the book of Daniel still relevant today?

J'ai parfois croisé Regis lors de ma riche et trépidante vie mondaine quasi inexistante, mais nous n'avons pas souvent eu l'occasion de jouer ensemble, si ce n'est par le truchement de l'immense Martin Rappeneau et son travail à l'image. Je l'ai toujours trouvé très compétent et surtout pince sans rire, qualité qui marque énormément de points chez moi. Regis est batteur et réalisateur, il a "battu et réalisé" avec plein de gens connus ou moins connus, de Hallyday à Abd el Malik en passant par Michel Legrand, Jenifer ou feu Sylvain Luc, en naviguant entre Jazz et pop, toujours avec style et efficacité. Il a un avis interessant sur beaucoup d'aspects de la création musicale puisqu'il commence, les années passant, à bien maitriser le sujet. je vous propose donc de vous faire découvrir une partie de sa psyché, ce qui correspond à l'ensemble des manifestations conscientes et inconscientes de la personnalité d'un individu pour ce qui ne connaissent pas ce mot, avec ce podcast regorgeant d'informations vérifiées. Bonne écoute.

Today we discuss the intersection of architecture and interior design, finding a common ground for both aspects to complement each other. Ian Mills and Becca Roderick, Executive Directors of Architecture and Interiors, respectively, at Morris Adjmi Architects. They delve into the concept of hospitality, the collaborative process within their firm, and how they align their visions to create contextually relevant and impactful projects. The conversation covers notable projects like the Wythe Hotel and The Forth, emphasizing how thoughtful design can redefine neighborhoods and meet client expectations. They also discuss the emergence of branded residences and the importance of client buy-in and strategic investment in design.Takeaways: Encourage regular collaboration and communication between the architecture and interior design teams to align on the project's North Star.Conduct thorough research on the location, history, and context of the project site to create designs that are both impactful and fitting with the surroundings.Prioritize elements that make guests feel cared for, regardless of the budget or exclusivity of the experience.Invest in high-quality design, as it can significantly enhance the financial performance of hospitality projects. Tightly manage budgets to ensure investments are spent judiciously and effectively.Be prepared for unexpected challenges, especially in adaptive reuse projects. Have mechanisms in place to manage and respond to these surprises.Keep clients informed and involved throughout the project's lifecycle to ensure continuous alignment and buy-in.Quote of the Show:“ We're bringing the same mentality and sort of rigor to every project because we think that every project can change the neighborhood that it's in.” - Ian Mills“ When you strip everything back and peel things away, hospitality is really about caring for people and fostering community.” - Becca RoderickLinks:LinkedIn: https://www.linkedin.com/in/ian-mills-a77a1a19/ LinkedIn: https://www.linkedin.com/in/becca-roderick-45405299/ Website: https://ma.com/ Shout Outs:0:48 - Four Seasons https://www.fourseasons.com/ 0:49 - St. Regis https://st-regis.marriott.com/ 0:54 - AvroKo https://www.avroko.com/ 0:55 - One Kings Lane https://www.onekingslane.com/ 9:09 - Wythe https://www.wythehotel.com/ 10:28 - The Goodtime https://www.thegoodtimehotel.com/ 10:43 - Forth Hotel https://forthatlanta.com/ 18:13 - Morris Adjmi https://www.linkedin.com/in/morris-adjmi-7295918/ 25:31 - The Founder's Dilemma 27:46 - Frank Gehry https://en.wikipedia.org/wiki/Frank_Gehry 54:01 - Theory Building https://ma.com/theory-building.html 54:41 - 837 Washington https://ma.com/837-washington.html 56:36 - Scholastic Building https://ma.com/scholastic-building.html 56:42 - Aldo Rossi https://en.wikipedia.org/wiki/Aldo_Rossi 

In this special episode of The Heidrick & Struggles Leadership Podcast, Heidrick & Struggles' Adam Pacifico sits down with Dr. Regis Chasse, who leads leadership development solutions initiatives for Heidrick Consulting. Adam and Regis discuss the five imperatives Heidrick has identified through which leaders can focus their capabilities and, over time, become what we call connecting leaders. These imperatives are: envision the future, deliver today, act with purpose and courage, harness the power of others, orchestrate ecosystems, and cultivate a learning mindset. For more on the connecting leader, see “The connecting leader: Five imperatives for leaders today.” Hosted on Acast. See acast.com/privacy for more information.

Tracklist: My Eyes - The Advocate Everybody's Free - Airsand, TuraniQa Chasing Aurora - àmou Nidavellir - àmou Electric Reflex - Aradya Move Closer - BASSTID Sands of the Unknown feat. KELILA - Cafe De Anatolia, OTIOT Where I'm From - Cassian, SCRIPT, Belladonna (ofc) My Light - Cimmerian Solar System - Cimmerian Everybody Love (Yotam Avni Remix) - EdOne, Yet More Cherry Blossom (Vintage Culture Remix) - Empire Of The Sun, Vintage Culture Time - Forhan Wickel, The Dara Hidden - Function, Regis, Sandwell District, Rivet, Monic People - Hidden Gem, Sonia Gaard Dailey Blend Podcast - Online | Instagram: @DaileyBlendPodcast | Twitter: @DaileyBlendPod | Youtube: @DaileyBlendPodcast | Web: DaileyBlend.com Reed Dailey - Online | Instagram: @ReedDaileyMusic | Twitter: @ReedDaileyMusic | Twitter: @ReedDaileyMusic | Youtube: https://bit.ly/45PYqWG | Web: ReedDailey.com #DaileyBlend #DaileyBlendPodcast #TechHouse #HouseMusic

Anne Ganguzza (00:05.233) Hey everyone, welcome to the VO Boss podcast. I'm your host, Anne Ganguzza, and today I am so excited to be with very special guest, Luanne Regis. Luanne is a veteran voiceover agent and talent agency executive with over 30 years of experience. Her career spans everything voiceover, all voiceover, including... heading up scale departments at two LA boutique agencies, running the celebrity division at a top bi-coastal theatrical and commercial agency, as well as launching her own Chicago voiceover department in 2007. After a year at Sound and Fury Casting, she now owns and operates her own talent representation agency, Regal V.O. Luanne, thank you so much for joining me today. Luanne Regis (00:57.621) and thank you for having me, Anne. Anne Ganguzza (00:59.929) I love this. So I had such a wonderful time meeting you like fleetingly at MAVO and was so excited to get the chance to talk to you and work with you as well. You're gonna be coming up soon as a guest director for me on my VO Peeps group. So I'm very excited about that. And so for bosses that don't know who you are, give us a brief, kind of a brief. Luanne Regis (01:06.115) Yes. Luanne Regis (01:16.777) I can't wait. Anne Ganguzza (01:26.981) bio of you more than what I've given in regards to your evolution through the years as a talent agent and representative. Luanne Regis (01:37.067) Sure, of course. So I'll try to be brief because it is quite a long speech. And you know, voiceover, just, people ask you, how do you get into voiceover? And I'm like, I sort of really just fell into it, which I did. You know, back in the mid nineties, I answered an ad, they were looking for a voiceover assistant, an agent, and one of the partners at a boutique agency was looking for an assistant. And I thought, this is great. Let me just try this. And I quickly liked it. I liked the fact that Anne Ganguzza (01:41.124) Ha ha ha ha! Luanne Regis (02:04.703) The voice can really be anything. It has nothing to do with your aesthetic, what you look like, how tall you are, what color your hair is. I loved that. That to me was a very creative aspect for VoiceOver. And I started there and quickly became an agent, a scale agent, and was there for about five years. I have seen the business really, really grow and change to... And right around the early 2001s when all of the theatrical agencies were getting into voiceover because they poo-pooed and they snubbed their noses at voiceover for so very long, a major theatrical agency wanted to have a voiceover department. And so they plucked our entire department from the boutique agency, which was Special Artists, which is where I worked since the mid-90s. And we took our entire business, SpongeBob and all, and set up shop at Innovative Artists, which was the Anne Ganguzza (02:56.229) Mm-hmm. Luanne Regis (02:58.751) Bicoastal theatrical agency that I was at for 16 years, including what you mentioned in my bio, starting a Chicago voiceover department for them in 2007, just after the birth of my daughter. So I was there for 16 years and you wake up one day and you have 800 clients because you represent not only, we came with not only our voiceover department intact with all of our amazing clients, but we also were there to represent. Anne Ganguzza (03:00.314) Yes. Luanne Regis (03:26.591) their clients and they have a really healthy roster, a very well known TV and film actors. And that's where I began doing celebrity and overscale voiceover and really enjoyed it. But you know, like I said, you wake up one day and you have 800 clients and that's a lot to manage, especially in the way in which I agent. I was taught voiceover agenting by one of the best, she's a mentor, Marsha Hurwitz. you know, it's... Anne Ganguzza (03:29.735) Mm-hmm. Anne Ganguzza (03:43.441) Yeah. Luanne Regis (03:52.321) All hands on, it's more like a manager. It's not just submit an audition and whatever happens happens. It's you pitch, you sell, you call producers. We don't do that anymore because the business has changed. But you're on the phone, you're calling producers, you're selling people, you're saying, I think you should really listen to Nancy Smith. She's really good on this read. That's the way I voice over agent and it's really impossible to do that with 800 people. Anne Ganguzza (03:55.589) Yeah. Luanne Regis (04:20.641) 800 clients on your roster. So I went back to my small boutique agency, Roots TGMD Talent, which is formerly Tishman Agency. the owner, Kevin Motley, who's a dear friend of mine, had recently sort of reshaped his agency, gutted all of the promo and trailer announcer type guys, which was an avenue in which advertisers weren't going down anymore. And we built a really great roster of actors, well-known actors. Anne Ganguzza (04:28.993) Yep. Luanne Regis (04:50.761) working actors, which is all I know. I know about actors in voiceover as opposed to voice actors. And was there for four years doing that until the pandemic. And then after the pandemic, I thought, you know what, I want to try my hand on the buyer's side. I always wanted to try my hand at being on the other side of the business, not just rapping. And so I worked at Sound and Fury, which is one of the, if not the top voice casting companies in the entire country, if not the world. Anne Ganguzza (05:14.928) Mm. Luanne Regis (05:18.941) And you know, really enjoyed my time with that team. They're like a family to me. And I missed representing talent and agenting. And so after a year, I decided to go back to it, but do it on my own. And believe it or not, I kept a lot of clients with me even as I left the agenting side and went over to the casting side because I have a a really lovely roster of very loyal talent. Some of them I've had since I started in the mid 90s and you know they were very sad to see me leave the agenting side. So they sort of held on to me even while I was on the casting side and once I decided to jump back they were like well we're still here for the ride let's go and that's how I sort of built my roster, my independent roster I should say and again it just they just come at me. I have agents and managers and Anne Ganguzza (05:56.687) Mm-hmm. Luanne Regis (06:13.909) theatrical agents and commercial agents just wanting to work with me and they throw all their clients my way and I don't refuse them because I love to Anne Ganguzza (06:21.827) love that, I love that. You know, it's interesting because, you know, as we're talking, you're kind of going back and forth between casting and agent and manager. And, you know, for the benefit of our boss listeners, what is your definition of the difference between the responsibilities of each? Because I think it's important for us as voice actors to know when we're trying to develop relationships, you know, to understand. what is encompassed in your job because that makes us able to communicate with you easier and help you, because I really believe it's a partnership no matter what you're really looking for. And so I think it will help us as voice actors to work with agents or casting directors better. Luanne Regis (06:57.664) It is. Luanne Regis (07:06.443) Well, the reason why, and that's a great question, and the reason why the transition from agent to casting director back to agent was such a seamless one is because a lot of what my job entails as a voiceover agent is casting. We work with casting directors, but agents also work directly with buyers and producers, and they come to us looking for talent. And we sit there and cast. Anne Ganguzza (07:22.287) Mm-hmm. Anne Ganguzza (07:28.657) Mm-hmm. Luanne Regis (07:33.555) in pretty much the same way a casting director who gets paid to do it does it. I sit there, I go through my roster, who's right for this? And I do essentially do a casting. And so a lot of my agenting is casting, but that's just sort of like the day-to-day job of a voiceover agent. Again, back in the day when we had booths and actors would come into our lobby and read and have, you'd be distributing copy, you know, back in the day, pre-pandemic and all that. Anne Ganguzza (07:41.307) Mm-hmm. Anne Ganguzza (07:48.07) Mm-hmm. Anne Ganguzza (07:58.631) Look at Luanne Regis (08:03.611) A big part of my job also was directing talent, not just sitting at a desk and agenting. I would go into the booth. I need to know what my talent does. I need to be able to sell that person. So in order to do that, I'm in the booth, I'm directing, and I really, really love that directing process because it's, again, it hinges on such creativity. It's so creative. They get to play around. I get also to play around with them in terms of what they can do, what their range is. Anne Ganguzza (08:07.974) Mm-hmm. Anne Ganguzza (08:15.109) Right. Anne Ganguzza (08:21.264) Mm-hmm. Luanne Regis (08:32.991) And that's how I know what my clients can bring to the table so I can effectively sell them. So it's casting, it's directing, it's obviously selling. It's very managerial as well because I'm, like I said, very, very hands on. you know, like for instance, many times I go into the booth with a client and we'd spend an hour in there if we have the time. And the last five minutes of that hour really is recording the copy and auditioning. Anne Ganguzza (08:46.767) Mm-hmm. Anne Ganguzza (09:02.342) Mm-hmm. Mm-hmm. Luanne Regis (09:02.561) but the previous, how many ever minutes, spent catching up. How's your wife? How are the kids? How is life? How's your mom doing? Stuff like that. That's how you get to really know clients because what they share with you in the booth, you bring that to you as you're casting. You bring that to you as you're selling them. You have to really know them inside out. That's more of a very managerial, I think, position as an agent. Anne Ganguzza (09:08.646) Right. Anne Ganguzza (09:16.238) Right. Luanne Regis (09:30.641) not all agents agent that way. I just learned to do it that way. So it's manage it's managing talent. It's selling talent, agenting obviously, but it's also casting and directing talent in the booth. And then of course your negotiations skills come into play. Your knowledge of contracts, your knowledge of legal, legal procedures, as far as contracts go. That's all encompassing as a voiceover agent. Anne Ganguzza (09:33.484) Mm-hmm. Mm-hmm. Anne Ganguzza (09:48.355) Sure. Anne Ganguzza (09:54.34) Mm-hmm. Anne Ganguzza (09:58.767) It's such a broad base of that you need to have. And you said something before that I thought was so interesting. You said you had been working with, and it really, I think it goes to show the evolution of the business. You talked about actors who did voice acting rather than voice actors. And so I caught that little tiny nuance right there, which really speaks to your amount of time and experience in the industry. Luanne Regis (10:00.82) It is. Luanne Regis (10:16.416) Yes. Yes. Luanne Regis (10:23.829) Yes, yes. Anne Ganguzza (10:25.509) Because how often, like what would you say, I guess now in your, because you've been in business for so long, you must still, I suspect, deal with actors who do voice acting, as well as voice actors. And what are your thoughts on how you work with, let's say, actors now who do voice acting, or voice actors differently? Do you spend as much time, or how does that work today? Luanne Regis (10:33.877) We will. Mm-hmm. Luanne Regis (10:53.737) The reason why for me, it's actors in voiceover, not only was I brought up in the business knowing that, because when I started at Special Artists, they were mainly a commercial, on-camera commercial agency, and this predated me, obviously, but when they started their voiceover department, they used their on-camera actors as the basis for their voiceover department. Anne Ganguzza (10:56.25) Mm-hmm. Mm-hmm. Anne Ganguzza (11:10.118) Mm-hmm. Anne Ganguzza (11:21.253) Mm-hmm. Luanne Regis (11:21.853) I come from a track record where the agents who taught me used actors and put them in voiceover and made them successful. The voice of SpongeBob, Tom Kenny, was a comedian, an actor. We put him, he made that transition because of how talented he is. So I do feel voiceover is not just a voice, you're acting. Anne Ganguzza (11:29.339) Mm-hmm. Anne Ganguzza (11:35.44) Mm-hmm. Anne Ganguzza (11:49.35) Sure. Yeah. Luanne Regis (11:50.529) You're bringing copy to life. You're selling copy, but you have to bring it to life. You have to connect with the product. You have to connect with what the words are saying. So at the end of the day, it really is about acting, which is why I favor having someone who has an acting resume, someone who's done work, because they have a certain measure of experience that they can bring to the voiceover table. Anne Ganguzza (11:59.761) Sure. Anne Ganguzza (12:08.358) Sure. Anne Ganguzza (12:15.463) Yeah, yeah, absolutely. And I love the emphasis on acting because even for something like I specialize in a lot of the corporate e-learning, the non-broadcast style stuff, but in order to really bring that material to life, and sometimes it needs a lot of help, just saying, because it can be a little bit dry and boring, you have to, I mean, every company, and I think whether you're dealing with commercial, Luanne Regis (12:27.894) Yes. Anne Ganguzza (12:41.959) Right? Any type of copy. mean, if you're dealing with a company or a client, they're ultimately, I mean, unless you're doing entertainment, right? Ultimately, they're trying to sell something. And so there's always a story. I good companies, I would say that, you know, it's marketing 101 that, you know, stories really sell better than, you know, Luanne Regis (12:49.375) Right. Absolutely. Anne Ganguzza (13:03.322) cold heart announcing facts sort of thing. And so if you can be the actor that can tell the story or understand the story that the company wants to sell or tell, that's gonna help them to sell. So I love the emphasis on acting. Luanne Regis (13:04.437) Yeah, yeah. Luanne Regis (13:14.749) Absolutely, and it really, you're absolutely right. When you say, a story, that is really what it is. I was telling actors yesterday, you have to, when you get a script, you create a narrative behind that script that those lines will support. Whether it's right or wrong, it's truthful and it's authentic. But you do have to connect with the product. You do have to connect with the lines. You do have to connect with the script. And the only way you do that is if you make it part of a story that you're telling. Anne Ganguzza (13:36.142) Mm-hmm. Anne Ganguzza (13:45.703) Yes, absolutely. And I think that's what so, at least with students when I'm working with them in the corporate narration or the e-lin, like what story? I'm delivering information. I'm like, but there is a story and you have to keep the listener's attention for longer than 30 or 60 seconds. This is not a 60 second commercial. And so even if I... Luanne Regis (13:58.849) We resist. Luanne Regis (14:04.372) You too. That's right. Anne Ganguzza (14:08.642) I think if the story doesn't make sense, right, if they're reading the words and they're like, well, I would never really say that, or you know, you have to create the scene in which those words make sense. And I guess my question to you is, what would you say is the main difference between on-camera acting and voice acting? Luanne Regis (14:17.173) That's right. Yes. Luanne Regis (14:26.939) on camera acting, you have so much more at your disposal. You have what you look like, you have the physicality of being on camera. And this is why I love voiceover, because with voiceover acting, you have to basically emit all of that just vocally. Whether you're in the booth and you're, you where you see the animation characters, they're in the booth and they're using their hands and all that, that's all well and fine, but that does not translate on camera in the way it Anne Ganguzza (14:31.59) Mm-hmm. Anne Ganguzza (14:44.708) Yeah, yeah, through your voice. Luanne Regis (14:56.417) would if you were an on-camera actor. really does have, so again, we go back to is telling that story. If you have a story to tell, it's gonna come out in the words, it's gonna come out in the smile, it's going to come out in the warmth that you bring out, or not the warmth, or the cold, or whatever it is, the stories that you're telling. But it all comes from the heart, it all comes from here. Anne Ganguzza (14:57.062) Right. Luanne Regis (15:22.313) as opposed to you being able to use your hands to gesture in a way that conveys whatever you're trying to convey in an acting, you know, when you're acting. Anne Ganguzza (15:26.49) Mm-hmm. Mm-hmm. Anne Ganguzza (15:32.231) So what would you say when you're working with talent? time is precious these days, so I imagine that you probably don't have as much time to work with talent, let's say on a job or an audition, as you would. What are the types of things that you find you're telling your talent to do most in terms of, know, either following direction better or their performance-wise? What are the kind of tips or tricks that you're speaking to most? Luanne Regis (15:40.437) Yeah. Yeah. Yeah. Luanne Regis (15:59.487) Yeah. Well, it does vary from project and script to script, obviously, but a lot of it is what I just said, you know, creating that story, creating that narrative. A lot of times, and this specifically relates to commercial copy, a lot of times you get a script and you have no idea what the storyboards are. You have no idea what the visuals are. You just have maybe two or three lines and you sort of have to put it together. At that point, you have to make a very specific creative choice. This is the story I'm going to tell. Anne Ganguzza (16:02.171) these days. Mm. Anne Ganguzza (16:18.566) Mm-hmm. Anne Ganguzza (16:25.562) Mm-hmm. Luanne Regis (16:27.957) So that's one tip and we just spoke about that. There's a lot of non-announcery, non-polish, non-slick directives nowadays and I always have to tell my clients, so here's what I want you to do. I don't want you to think about yourself on mic. I don't want you to think about yourself up there as a speaker or as an announcer saying something. I want you to sit and talk to a friend at a bar and you say what you need to say and you come from that place. so that we can get you conversational, we can get you casual, and we don't have you coming out of the box like you're making a grand announcement. A tip, a trick I use sometimes is I will have them slate their name after they've done their session, after they've done their audition, because once you slate your name, Luanne Regis, you sort of go into this, okay, I'm here, I'm announcing mode, I just want you to tell me what you have to say on your copy, you can save the slate for later. So that's just one of the tips that I use. Anne Ganguzza (17:05.296) Sure, sure. Anne Ganguzza (17:17.808) Right. Anne Ganguzza (17:25.06) Mm-hmm. Luanne Regis (17:25.375) you know, the conversational thing, just sort of like bring it back home. If it's something that I feel they need to be a little bit more intimate with, I give them situations like, I want you to read this bedtime story to your six year old, or I want you to sit with your child and have a one-on-one conversation with him or her. you know, I just give them a place from which to emote so that we can bring that emotion into the copy. Anne Ganguzza (17:48.752) Mm-hmm. Mm-hmm. Anne Ganguzza (17:52.803) Speaking of emotion, find, for me, just on longer copy, because if you have a particular energy or emotion and you continue for over a minute or two or three, with that same energy, it doesn't necessarily allow the story to flow. And I feel that people might get into the rhythm of this particular emotion or this particular... Luanne Regis (18:03.958) Mm-hmm. Anne Ganguzza (18:14.887) Energy and I feel with with any good story right energy in your story changes and evolves and it can evolve throughout like the course of one sentence even and the energy you start with in the beginning or the story that you tell in the beginning isn't necessarily the same story that's happening or evolving when you're halfway through or three-quarters of the way through and for a lot of for a lot of my students I find that you know if they're if they forget Luanne Regis (18:25.502) Absolutely. Luanne Regis (18:37.152) Right. Anne Ganguzza (18:44.119) about the story halfway through, then it starts to turn into this kind of just into this, let's news, news broadcast read or, you know, something like that. And so in the middle of the script, do you ever have to kind of redirect or give another scene to help this through? Or are you finding that for the most part, you're working with with top caliber actors that already are doing that or have done that? Luanne Regis (18:51.041) Yeah. Luanne Regis (19:09.279) Yeah, know what, an actor is gonna find his or her way, again, depending on the story that they want to tell. The seasoned actors, the really good actors understand how to flow in and out, how to make a change, or how to sort of navigate around certain things. And I'm glad you asked that question, because one point I really wanna bring to mind is sometimes when you're directing talent, I can't tell you. Anne Ganguzza (19:13.723) Mm-hmm. Anne Ganguzza (19:18.042) Yeah. Luanne Regis (19:37.663) Yes, I can give you a line reading. Yes, I can tell you how to do it. But I want you to color it the way you would color it because that brings a certain uniqueness that no one else will do. You might put a pause in the middle of the copy for effect, or you could take a beat, or you could do a slight, And someone else will not necessarily do that. that... Anne Ganguzza (19:39.748) Yeah. Anne Ganguzza (19:44.613) Right. Anne Ganguzza (19:50.395) Mm-hmm. Anne Ganguzza (20:02.822) Mm-hmm. Luanne Regis (20:02.827) Completely changes the way that copy gets conveyed to to the audience. So a lot of times it's it's what you do specifically and not me directing you into that read because I want it I sort of wanted to come from you I want you to bring that that authenticity to it because at the end of the day authenticity is what will May not book you the job, but it will have the producer go. Wait a second. What can we hear what? And that's what you want to do Anne Ganguzza (20:27.787) Mm, it might get you on the short list. Luanne Regis (20:31.357) Exactly. That's what I'm glad you said that I was seeing this exact same thing yesterday. It's like, yes, you want to book the job, but don't focus on booking the job. Focus on wowing whoever's listening, focus on making an impact. So maybe you weren't right for that job, but perhaps you bring you back in for something else. Anne Ganguzza (20:42.17) Yeah. Anne Ganguzza (20:48.133) Yeah, yeah. And also I think then you're really, especially if it's an audition that you're submitting to your agent or casting director that is very familiar with working with actors in regards to, well, okay, it can showcase right away that you're an actor. And if you're an actor, you'll be able to follow direction no matter what the direction ends up being. Cause I have a lot of times people will say to me, but that's not what I hear in the actual commercial. Luanne Regis (21:00.321) Mm-hmm. Luanne Regis (21:06.037) Yes. Anne Ganguzza (21:16.229) you know, it sounds completely different. And, you know, I'm always like, well, you know, it really depends on who's directing you at the time and what the client is listening to and what they hear in their head as being the way they want the copyright. So you have to be versatile enough to be able to take any direction. I've turned in for me as a coach, I've turned to almost saying, well, here, I'm coaching you on how to get the gig, not necessarily on the final product, because Luanne Regis (21:17.878) Thanks Luanne Regis (21:22.251) That's right. Luanne Regis (21:28.415) Yes, yes. Luanne Regis (21:45.429) Right. Anne Ganguzza (21:46.129) Coaching you to get the gig is gonna make you the most authentic actor that you can showcase in the first or second sentence. So for me, Luanne, coming in in the first or second sentence is so important with a connection to the copy. Talk to the importance of maybe that, the first few words that come out of the actor's mouth or in the copy, how important is that? Luanne Regis (21:50.145) That's right. Luanne Regis (21:58.719) Yes. Yes. Luanne Regis (22:10.145) very, very important because again, when I worked at Sound and Fury and we got 800 casting, 800 auditions from one casting, they're listening and they know right away if this person's gonna nail it or not. So you wanna come in just hitting the mark immediately. even, obviously I don't have 800 clients, but you see that process with a casting director. They don't have the time to listen to the entire script if they feel you didn't hit it within the first. Anne Ganguzza (22:24.079) Mm. Anne Ganguzza (22:28.027) Mm-hmm. Luanne Regis (22:39.929) Or maybe not even hit it if you didn't do something in the beginning that made them go. let me keep listening because time is money and they do have to get through all of these these auditions and the same to a certain extent with me I mean I listen to every single audition all the way through but I know by the second or third line if someone has nailed that piece of copy or not just because obviously I have the the experience in the years of the instinct but again, it's that You can't put your finger on it. It's that je ne sais quoi. It's like, yeah, let me keep this. wow, she did that? Okay. It really is important to nail whatever you want to nail at the beginning of the copy as opposed to saving your best for last. Anne Ganguzza (23:24.047) Yeah. Now, I love that you said you listen to the auditions all the way through. Now, why? Why do you do that? Luanne Regis (23:32.085) For several reasons. One, and you said something that I wanted to sort of bring back to the forefront, so I'm glad you asked that question. A lot of times, again, I'm a casting, I'm sort of a casting director when I age, because I'm putting people on stuff and I'm wondering, is she right for it, is he right for it? I have to listen throughout the whole thing. One, because it's my client and they've done the audition and I need to hear what they did, they may not be right for it. Anne Ganguzza (23:33.732) Mm-hmm. Anne Ganguzza (23:48.848) Mm-hmm. Anne Ganguzza (23:54.715) Mm. Luanne Regis (23:58.805) That way I know, you know what, I'm not gonna put him or her on this anymore because I don't think they're right for it. Or I hear something that they do and I think, you know what, I've got something else that, I've got a different role that I think she's right for. I don't think I put her on the right role. I think I need to get her on this other one. So it gives me a clue. It clues me into what my clients can do, what they can't do, even as well as I know them, even as much as I know their range. Anne Ganguzza (24:04.314) Mm-hmm. Anne Ganguzza (24:23.494) Mm-hmm. Luanne Regis (24:25.481) I still am learning a lot about them as we go along. So it behooves me to listen to everything that they do. Anne Ganguzza (24:33.53) so interesting. I love that you listen all the way through because it shows that you really care and that you really care about your clients and you care about making the best fit and really choosing the best person for the job. That just requires a lot of, think, integrity and I love that. I think that's amazing. Plus, I think it's so interesting because maybe even... Luanne Regis (24:36.417) Mm-hmm. It does, yeah. Yeah. Luanne Regis (24:47.359) Yeah. Luanne Regis (24:52.883) Yeah. Anne Ganguzza (24:57.946) You know, people that you've known for a long time, I mean, we continue to grow and evolve and learn and discover. I find with myself, like, I discover new things about myself and it impacts, right, my acting in the booth. And, you know, in lots of different ways where all of a sudden I'll be like, well, gosh, I've been doing it like this for years and goodness, I should have maybe thought this way. And it just will bring something different out in me, which is kind of cool. And so that's just kind of being the lifelong learner sort of. Luanne Regis (25:02.678) Yes. Luanne Regis (25:12.607) Yes. Luanne Regis (25:27.05) Yeah! Anne Ganguzza (25:27.483) you know, always trying to grow my skills and craft. And you think like, well, have I reached this point? Well, now I've done it and I'm an actor. But I feel like you never quite reach the point where you're never not learning. Luanne Regis (25:31.583) All right. Luanne Regis (25:42.129) No, you always are learning and you're always trying new things and I'm always learning things about clients. I'm like, I didn't know you did that. That's good for me. I can sell you in a different way now. it's a learning process on both ends. Anne Ganguzza (25:49.508) Mm-hmm. Anne Ganguzza (25:53.05) Yeah. Yeah. Anne Ganguzza (25:59.142) So the sell, okay? I wanna talk a little bit about the sell. When you're trying to sell a talent, what is it when you're communicating with a client for a particular spot? So what's involved in the sell of it on your end? I'm just curious because I've never, I mean, I've cast people, but I've never really been had to like, hear my choices and then the client will ultimately make the... the end result, but when you're really trying to sell a talent, like what goes, what sort of qualities are you selling in the talent? Luanne Regis (26:36.605) So you're talking about me selling to a buyer a casting director or okay? So then it would it depends on if it's the buyer's a casting director or if the buyer is the actual buyer the producer the the ad agency or something You know if it's a casting director. It's because I want that person to understand He can do this what you're asking what you're asking for me to cast for you This guy can do this so I need you to Anne Ganguzza (26:39.876) Yeah, to a buyer, yes, yeah. Anne Ganguzza (26:45.766) Mm-hmm. buyer, right, Yeah. Luanne Regis (27:05.161) I send links, send if it's stand-up comedians they're looking for, I send a link to their stand-up. One of many different ways I keep all of my auditions, so I will curate a specific sample of voices so that they can hear. For instance, if they're looking for something specific, I go back and I pull auditions that they've done for that specific character and I said, listen, here's what he's done for me in the past. That's one tool I use to sell. Anne Ganguzza (27:20.75) Mm-hmm. Anne Ganguzza (27:32.622) Mm. Mm-hmm. Luanne Regis (27:32.833) And that's to a cast director if I want to convince her that this client can audition for her on a project if it's a buyer the actual buyer the producer the ad agency or Yeah, well, it would be the producer of an ad agency because if it's animation is it's casting directors You know again, it's showcasing what they've done before showcasing the stuff that they've done showing them listen to this Anne Ganguzza (27:40.218) Got it, got it. Mm-hmm. Anne Ganguzza (27:48.357) Yeah, yeah, yeah. Anne Ganguzza (27:55.206) Mm-hmm. Luanne Regis (27:59.647) I know you're looking for a guy that can do this. Listen to him right here. He's done this before. He's auditioned for this before. He's actually booked this before. Here's a spot that he's done. And you might want to listen to this. So that is, that's what I'm pushing when I'm speaking to producers. Sadly, don't get, don't have, agents don't have that direct link to producers anymore. It's really become so remote now and remote, in the sense of remote recording, but. Anne Ganguzza (28:12.003) Mm-hmm. Mm-hmm. Anne Ganguzza (28:16.624) Got it. Luanne Regis (28:27.433) remote in the sense of we're far removed from these producers. I used to be able to pick up the phone and call a producer at Leo Burnett and say, listen to Nancy, she's really great for this. You want to hire her. And they would hire her. But they themselves, the producers, they're removed as well from their clients. Now it's the client, Walmart, that has to make the decision. The producer used to be able to make the decision before. Anne Ganguzza (28:30.181) Yeah. Anne Ganguzza (28:47.59) Sure. that's a, I'm so glad you made that distinction because I think for a lot of voice actors, they don't really know what happens once they submit that audition. then what is, like what's, how does my audition traverse, you know, to either get to the ears of the person who's hiring and who is the person that's hiring, right? You know, because I think if you're my talent agent, right, and I'm auditioning for you. Luanne Regis (29:03.478) Yes. That's right. Luanne Regis (29:11.638) Mm-hmm. Anne Ganguzza (29:17.219) What I love and what I've heard from you is that you must have a little file of me where you're keeping all my good auditions and you're keeping all the spots that I've done and I like that, right? You didn't just trash my audition if I didn't work for that particular spot, but you're like, okay, so you've got like bits and pieces of me there. And then, so if you're working with another, let's say, casting director, right? You can then send those files and sell me in that way. But then if you're actually talking to the client directly, Luanne Regis (29:22.527) Yes. Yes. Luanne Regis (29:28.619) Nope, keep everything. Luanne Regis (29:43.236) Right. Anne Ganguzza (29:47.342) Which is something I'm like, well, I've not been in this process. I speak with my clients directly, but probably not on the scale that you do because you're working on a broadcast scale. So I have a client that I've worked with for years and they'll ask me, who do you think would be good to do this for me? And I can refer, which is. Luanne Regis (29:55.937) you Luanne Regis (30:00.394) Right. Luanne Regis (30:05.569) Mm-hmm. Anne Ganguzza (30:09.817) on a small scale compared to what you do. Because you're talking to big time producers and agencies that have multiple projects going on. And so for me as an actor, I never quite know what happens once I submit that audition. So it's really nice that you just kind of explain that process. And the fact that you said you don't always get to talk to the producer like you used to be able to, which is what I sometimes I assume and I don't really know. Luanne Regis (30:11.457) Yes. Anne Ganguzza (30:36.548) you know, depending on the agency, depending on who it is and what your relationships are, which I think it comes all down to relationships. But you're right, now even the producer is removed because it really comes down to like, let's say the client Walmart or whoever that might be. So that's a very good thing to know from my perspective. Luanne Regis (30:42.518) Yes. Luanne Regis (30:53.621) And I'll tell you the reason, I'll tell you the reason for that, Anne, and I want to make sure people understand this because it was a very drastic change. think the reason that I was able to, first of all, be able to pick up the phone and call a producer and they would actually book, or the producer would call me and say, who do you have for this? We need to cast this job right away. Who do you have? book David Pasquese. He'd be great. And they would hire him. So how many ever years, 10, 15 years ago when, you know, the big Anne Ganguzza (31:09.666) Mm. Mm-hmm. Anne Ganguzza (31:15.611) Mm-hmm. Luanne Regis (31:23.113) ad agencies, the DDB Needhams, the Chiat Days, you the big ad agencies, they had the bulk of the work, they had the majority of the work. And as time went by, these smaller agencies started picking up work. So the ad agency now sort of lost the power to be able to make that decision because they themselves are trying to hold on to their accounts. So they no longer can say, I can hire you for this Walmart voiceover. Anne Ganguzza (31:25.37) Mm-hmm. Anne Ganguzza (31:29.821) mm-hmm. Anne Ganguzza (31:41.527) Mm-hmm. Yes, yes, yes. Makes sense. Luanne Regis (31:49.953) they now have to check with the head of marketing or whomever at Walmart. That never used to be the case. They used to be able to pull that trigger and go, great, let's hire him. That's no longer the case. And I do firmly believe it's because of that change over in, in work, a lot of ad agencies lost clients, a lot of ad agencies are afraid of losing their clients. So they're really at the disposal at the mercy of their clients to make every single decision. Anne Ganguzza (31:52.944) Sure. Anne Ganguzza (32:20.359) That's very interesting and that really speaks to this, think also the size of the industry over the years that has really increased greatly. Luanne Regis (32:21.248) Yeah. Luanne Regis (32:25.183) Yes, yes. It has, yeah. No, it has. You've had a lot of these smaller or maybe ad execs from ad agencies sort of offshoots and go off and start their own small companies, and they're now getting the big jobs. They're now getting the big work as opposed to those big multimedia conglomerate ad agencies that they're not really getting those accounts anymore. Anne Ganguzza (32:41.616) Sure. Anne Ganguzza (32:46.544) Right? Anne Ganguzza (32:51.686) Well, and now also I think technology, mean, gosh, technology has certainly evolved over the years. And now a lot of times, like you said, you'd meet in the, and I from back in the day when I would go to a studio for a callback, and gosh, that's almost not the case too much anymore. But I miss the days when you would see all your voiceover friends in the lobby. And even though you'd kind of be a little bit nervous, you'd all be like catching up and seeing people you hadn't seen in a while. Luanne Regis (32:55.179) Yeah. Luanne Regis (32:59.188) It has. Luanne Regis (33:09.491) I know. Luanne Regis (33:14.185) Yeah. Luanne Regis (33:19.137) Yeah. Anne Ganguzza (33:21.375) And I kind of miss that. with the digital evolution and people having their home studios and the internet and I think a lot of those agencies too, mean, went online, am I not correct? Yeah, yeah. Luanne Regis (33:23.497) Yeah. Luanne Regis (33:34.943) They sure did. They sure did. Yeah, they really did. And to speak a little bit, I'm just going to hear my pet peeve about that. Again, I remember a day when ad agency would hire a studio here, hire a studio in Chicago, hire a studio where they are, and they would connect. Now that cost, because we've had a situation like the pandemic where everyone sort of had to get set up to record from home, a lot of ad agencies haven't gone back to that, gone back to hiring studios. Anne Ganguzza (33:49.52) Mm-hmm. Anne Ganguzza (33:59.366) Mm-hmm. Yeah. Luanne Regis (34:04.277) they figured out a way, wait a second, we don't have to hire a studio. We don't have to incur that cost. We can keep that budget under control and pass that cost on to the actor. That's one of my biggest pet peeves of the consequence of the pandemic where actors have now had to become engineers, incur their own costs for studios. I'm like, wait a second, you would hire a studio in New York and Los Angeles back in the day. We're like, how is that? Anne Ganguzza (34:29.489) Yeah. Luanne Regis (34:34.37) What do I know what you're doing. Anne Ganguzza (34:36.282) Yeah, and they're not necessarily, you know, claiming, I am correct in the assumption, they're not necessarily saying, well, hey, I've got a home studio. I should be charging for that studio. I should be tired. Theoretically, right, they are, but I don't know anybody that really, like, has a line item that says, hey, this is my studio cost, right? Luanne Regis (34:45.825) No! Luanne Regis (34:53.957) No, no, the actors sadly have had to fall in line, you know, and now we've gone, it's just everyone is now remote studio required, home studio required. I'm like, wait a second, you would hire a studio back in the day. I just think it's unfair because now the actor should be concentrating on his audition and he should be concentrating on the creative aspect. He should not be asked to upload stuff. He should not be asked to be an engineer in his own session. You know, it's just the way of the world now. Anne Ganguzza (34:58.35) Yeah, it got absorbed. Anne Ganguzza (35:03.504) Yeah. Yeah. Anne Ganguzza (35:23.567) It is such a luxury to be directed even in my home studio now. It's just, and it's lovely for, I will say at least they're Source Connect so that an engineer can take what I'm doing back here in my home studio and engineer it and I don't have to upload and he can just take it. That is a luxury. And also the fact of actually having a director is a luxury these days. And I love it. And I kind of wish we went back to it. Luanne Regis (35:27.403) Yeah. Luanne Regis (35:39.711) and do his own thing. Yes. Luanne Regis (35:47.198) Yeah. Luanne Regis (35:52.757) I know. Anne Ganguzza (35:53.33) And you never know, mean, maybe that will happen, maybe that will not, but I think in the end, right, is it not all driven by the customer, right, the client, like it's Walmart, like what do they want? And so ultimately, what type of voice are they gonna look for? How are they gonna hire? And I think that's something as a voice actor, we need to consider the business aspect of it, because how are we going to kind of shine in front of all of... it seems like obstacles, maybe not obstacles, but there's so many paths to getting hired these days, you know, and yeah. Luanne Regis (36:28.031) Yes, there are. And let me go back to a question you asked earlier about what happens when that audition goes off. And it's really important for actors to understand, because you don't book a job, that doesn't mean you weren't on a short list. That doesn't mean that you weren't listened to and someone was vying for you and that just, the client or whomever came in and said, no, let's go with a woman instead of a man. doesn't, you have... Anne Ganguzza (36:53.264) Mm-hmm. Luanne Regis (36:54.205) I have no idea what happens once it leaves my, you know, my coffers because no one says anything. And then you get on a short list and you have one of five on a short list and that's great, you're excited. And then it just goes away. But for me, that's a win. Like someone listened to you and someone put you on a short list and someone considered you for this job. And even beyond the short list, you don't know who listened and went, wow, I really like him. You know what I mean? It's like, there's so many. Anne Ganguzza (36:57.574) Mm-hmm. Anne Ganguzza (37:08.42) Yeah. Mm-hmm. Anne Ganguzza (37:20.496) Sure. Yeah, yeah, yeah. I love that you brought that up. Mm-hmm. Yeah. Luanne Regis (37:23.837) intangibles and actors need to understand that just because you didn't book a job doesn't mean you weren't right for it. They could have changed their minds, changed the specs, changed the age, changed the gender. All of those things sort of are out of your control. Anne Ganguzza (37:36.432) Yeah. Anne Ganguzza (37:39.791) Yeah, there's so many aspects that are out of your control. And I think that's one of the most important things that a voice actor can also do is try to understand that and not let the mental, like, my gosh, I don't know what happened, or I'm not good enough, or that self-sabotage, get to them. And I think that's one of the biggest challenges that a lot of voice actors face is imposter syndrome that, because they didn't hear anything, they assume, right? Luanne Regis (37:53.119) I know. Yeah. Yeah. Luanne Regis (38:00.788) It is. Luanne Regis (38:06.399) Yeah, that's right. And by the way, that's another aspect of my job as an agent, to sort of manage their expectations and manage their disappointments. I had an actress tell me last night, she said, you know, I'm really just very dejected and sort of tired and fatigued with these auditions. I haven't had a callback, I haven't had this, I haven't had that. And for me, you know, I need to... Anne Ganguzza (38:15.171) Mm-hmm. Anne Ganguzza (38:19.792) Mm-hmm. Luanne Regis (38:32.841) I do need to boost her up, at the same time, I do need to understand her frustration and it's real. So, you know, my job there is to sort of maybe go, okay, let me reevaluate, reevaluate, excuse me, what I'm sending her. Maybe I'm not sending her the things that she's really gonna nail because at the end of the day, as an agent, you don't want to keep sending an actor hundreds and hundreds and hundreds of auditions and they're not booking because that debilitates them. Anne Ganguzza (38:38.63) Mm-hmm. Yeah. Luanne Regis (39:02.207) So part of my job is almost like a therapist of sorts. It's sort of like manage how they feel. Okay, let's do this then. Let's sort of reevaluate what we send you. Let me pull back a little bit so that you don't feel burnt out. How can I help you? Because obviously I believe in her. I don't want her to just go silent and not do auditions, but I have to kind of hold her hand along the way. Anne Ganguzza (39:06.086) Yeah. Yeah. Yeah. Anne Ganguzza (39:26.727) Right, Sure. Luanne Regis (39:30.187) That's another aspect of the voiceover agent's job, at least mine. Anne Ganguzza (39:31.706) Yeah. Yeah. I love it. this has been such a wonderful conversation, Luanne. thank you. Thank you. Well, it's been a pleasure. And I'll tell you what, I cannot wait to have you as a guest director for my group, for my VO Peeps guys. So make sure you take a look for that coming up soon. Luanne Regis (39:37.824) I love your questions, the way. Your questions are very pointed. Luanne Regis (39:47.711) Yes, I cannot wait. Yes. Luanne Regis (39:54.08) Yes. Anne Ganguzza (39:55.916) And with that, I will give a great big shout out to our sponsor, IPDTL. You too can connect and network like bosses. Find out more at ipdtl.com. Luanne, this has really been amazing. Thank you so much. It's been a pleasure. Luanne Regis (40:08.373) Thank you, Anne, for having me. I really do love talking about this stuff. Anne Ganguzza (40:13.146) Bosses, have an amazing week and we'll see you next week. Bye. Luanne Regis (40:16.033) Bye!  

There is no greater privilege than being made worthy by Christ, to be the children of God.

Author Grace Williams discusses her new book about the history of the Women's Bank of Denver, “Give Her Credit.”Then, entrepreneur Jack Danos talks about Coldslayer socks, a new heated sock product.Chefs Larry Abrams & Jason Lahrman preview the upcoming chef takeover at the St. Regis.And John Kenworthy and Ivonne Timar of Flanagan's talks about St. Patrick's Day.

Why in the world would Jesus tell His followers it would be better for Him to leave?

In this world, bad things happen sometimes.....period.

In which Ol' Artie kills some people he didn't really need to and we meet Harkle Harple.

Regis and Function's first mix in over 10 years is a unique paean to Silent Servant, heavy on unreleased material. When it came time for RA to compile our Albums of the 2010s, one record with a tauntingly limited availability of 500 copies was never in doubt: Sandwell District's era-defining 'Feed-Forward'. Encompassing Karl O'Connor (Regis), Peter Sutton (Female), David Sumner (Function) and Juan Mendez (Silent Servant), Sandwell District had the underground in a vice grip for over a decade. The collective imploded in 2013, with Sumner and O'Connor's relationship appearing beyond repair. And yet, an unlikely second phase is here, featuring imminent comeback LP 'End Beginnings' and their return to the RA Podcast after 16 years. In 2023, the trio of Function, Regis and Silent Servant had been performing and laying down new material before the latter's shock death last January. It's in the shadow of loss that this unique mix was forged. Founded in 2002 as a spiritual sister to seminal Downwards, Sandwell truly began to hit its straps in the late '00s, as shadow-stalking cuts sliced through clubland orthodoxy like a switchblade. In parallel, the label's artwork—a noir recombination of Burroughs cut-ups, DIY zines and arthouse amour that Silent Servant made his own—helped fortify a movement which placed an aesthetic premium on grit, grain and sadism. By the early 2010s, this fixation on the dark arts had utterly permeated the mood inside techno's masonic temples. Labels like Blackest Ever Black, Stroboscopic Artefacts, Avian and Modern Love were in their pomp, razorwire legends like Severed Heads and Chris & Cosey benefited from second winds, and it was briefly a jailable offence to not have a press photo in black and white. 'Feed-Forward' was the exceptional coronating statement. RA.978 features a stack of unheard recordings from each of the trio, as well as close allies Stefanie Parnow and Tropic of Cancer, while also gathering many of Silent Servant's all-time favourite songs, including Psychic TV, Grace Jones and Galaxie 500. It's a strikingly vulnerable listen, one without many parallels on the Podcast. We're glad to run it. Read more and find the tracklist here: ra.co/podcast/978

Almost 2000 years later, we're still talking about Jesus feeding 20,000 people with a lunchable! Why?

In which we meet a person with an ordinary name. And some weirdos. 

Join Gav and Chris as they look back at a professional performance from Sunderland at the SoL against Luton and look forward to an exciting yet daunting trip to Elland Road to take on Leeds United! What's the crack? A routine win for Sunderland - it was much needed after a tough few games at home recently;How good were Enzo Le Fee and Dan Neil? The difference in Luton is remarkable - are they headed to League One? Leeds are the most in-form team in the country and have kept eight consecutive clean sheets - so naturally, we're confident of going there and getting something... The big decision for Le Bris is who plays at centre half at Elland Road;We'd snap your arm off for a point now... would you?All this and more! Ha'way the Lads! #SAFC #EFL #EFLChampionship Hosted on Acast. See acast.com/privacy for more information.

What happens when you lose someone you love to suicide? How do you even begin to process a loss that feels impossible to carry? In this episode, Heather sits down with Madison Reuter, who opens up about losing her ex-partner, Regis, to suicide after his battle with schizophrenia. Madison shares the raw reality of navigating this kind of grief—what it's like to lose someone so young, the struggles of suicide loss, and the complicated emotions that come with it. She also offers insight for adults supporting young people through grief, sharing what helped (and didn't) in her experience. This is a conversation about love, loss, and grief we don't talk about enough. IF YOU'RE STRUGGLING WITH SCHIZOPHRENIA: https://sczaction.org/ Find Madison: ❤️ And Also Podcast: http://www.youtube.com/@andalsopodcast ❤️ https://open.spotify.com/show/7u5WJfJE4f8ZxWKalFdbe2?si=4e653c04e8ef4990 ❤️ IG: https://www.instagram.com/maadthreads/reel/DEsQbjwRJe3/ Find Heather and Jake's Help from Heaven: ❤️ APOY Instagram: https://www.instagram.com/aplaceofyespodcast/ ❤️ Heather's Instagram: https://www.instagram.com/heathersstraughter/ ❤️ Jake's Help from Heaven: http://jakeshelpfromheaven.org/ ❤️ Jake's Help from Heaven IG: https://www.instagram.com/jakeshelp/ ❤️ Facebook: https://www.facebook.com/jakeshelpfromheaven ❤️ Our YouTube Channel: https://www.youtube.com/@APlaceofYesPodcast Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode I discuss the following: Character mastery and the new patch notes .. I maxed out 3 cards .. guess who they were .. (or find out by listening.. one is pretty simple). I go over all the patch notes and walk through mastery .. how it works and what it looks like .. The new game mode Sanctum has been moved back to 2/25 .. the big series drop is coming soon! I go over my week in snap which includes decks I've played and one from Regis that I had a blast playing! New variants I've received and I take a look at my shop (bundles etc). I cover the new datamined cards which includes the new WHAT IF? Season in April! And updates to the March cards with a focus on Konshu .. (which is a game within a game card). I talk about General Ross in comics .. his origin story .. his “death” becoming Red HULK & more! In the MCU minute I review the Super Bowl trailer for Thunderbolts and reveal a possible “spoiler” for what the asterisk might be eluding to in the title of the film

What we find in Jonah 3 mirrors what we see in Jonah 1. So this time around, who will be judged and who will be saved? The answer is truly a monumental event in history.

Good evening I am back and Oh how I have missed..... most of you. I am pleased to announce that I have officially joined a new crypto company as a paid non paid intern.. I accidentally landed some new employment that I found on Discord when I thought I was logging into my very expensive porn account. Alas.  It is a privilege to be thrust into an industry responsible for banking the unbanked and unnecessary.To be clear, it is not that I need a job, it was just that I need funding outside of my dwindling Trustfund to support my chronic Degenerate memecoin and Christian Louboutin addiction side ordered with usual sessions with Psychic Derek on Rodeo Drive, who btw says Ethereum is a boomer chain.I digress. Lets start from the beginning. I realized I needed employment for money that I did not want to ask my husband for.I realize crypto fixes this. Yet I had no legitimate interests other than Rich people and scams. I am indeed  creepto native. I've made out with Do Kwon at the Four Seasons Lobby Permissionless 2017, and I can deposit $1000 dollars of my husband's money into my Kraken account to buy Pax Gold hashtag Tokenize Atangonize. I digress.My guest today is Sir Joseph Cox, who's cobalt blue collar background and lack of cartilage in his nose goes well with his startlingly romantic understanding of literature and Patricidicial Operas.  He is our White Knight Sam Bankman Fried meets the rough and tough Mark Wahlberg Wrestler of our crypto generation who can reference opera, Volatility, and can beatup a thug on the subway  in the same breadth. C'est sexy. C'est scary. With his keen mathematical mind and rampantly stringent approach to risk, Joseph and his team at Valmar do a lot of things at Valmar to manage crypto funds that I do not understand. They do not use Discord.   Joseph and I met on the jury of the Karen Read trials in January of 2022 late night at the Ritz hotel in Boston, over dirty martinis pouring over the witness' neighbors text messages while talking opera and Solana, utterly convinced of her guilt and her innocence and her guilt and then back again, much like how the jurors of OJ Simpson must have felt. Joe despite his cobalt blue collar background, has built himself up to the creme da la creme of the glitterati of crypto hedge fund knowledge and success and it was a pleasure for him to grace Headquarters. I look forward to returning to Jury. See you at the St. Regis. #GlitterLedger 

Snap Creator Regis Killbin joins me in this episode!! We discuss the following.. Superhero geek out .. We talk DC comics & films including the new Superman film! Regis talks about his love for DC (more than marvel) the books he read along with the characters he likes. We also chat about James Gunn and what he brings to DC .. and our excitement for the upcoming Superman film! He chats about his content background including his action figure videos! His time playing World of Warcraft which transitioned to playing Hearthstone (lead to his videos) and then going to Marvel Snap. He talks about getting into snap (beta) and how he knew that's what he wanted to stream going forward. He talks about why he moved away from live streaming at least for now (being a dad) and the possibilities of coming back. Also about why he enjoys making the videos. We discuss snap and what makes him excited about the game. How the outage affected him and what his thoughts on the compensation are. We end the show with a look forward and things he'd like to see come to the game in the future.

Yaron Naymark, Founder of 1 Main Capital, is back for the fifth time on the podcast to provide an update on his thesis for International Workplace Group plc (LSE: IWG), and how he overcomes the general investor skepticism associated with the company. For more information about Yaron Naymark and 1 Main Capital, please visit: https://www.1maincapital.com/ Yaron's original YAVP appearance talking $IWG.L: https://www.youtube.com/watch?v=QmVjVOoG6Sc Yaron's last YAVP appearance talking $IWG.L (June 2024): https://www.youtube.com/watch?v=FkZng2PSdxM Chapters: [0:00] Introduction + Episode sponsor: Daloopa [1:31] Overview of $IWG.L and why it's interesting to Yaron [10:36] Valuation [13:42] Franchisees happiness levels with IWG / IWG's "secret sauce"; competitive advantage [21:44] Funding is an obstacle? / RevPAR [33:00] Overcoming general investor skepticism [44:36] Recent transactions in the IWG (shared space) industry, and what that means for IWG valuation / why doesn't Regis own WeWork right now [53:15] Valuation [57:02] What the most likely reason Yaron thinks the thesis doesn't play out / final thoughts Today's sponsor: Daloopa Earnings season is hectic—there's no way around it. But what if you could take back the time you spend on manual model updates? With Daloopa, you can. Daloopa automates your audit and update process, instantly pulling accurate, fundamental data from filings and reports directly into your models. That means no more wasting hours on repetitive tasks. Instead, you can focus on analyzing trends, refining strategies, and staying ahead of the competition. Stop letting manual work slow you down. Set up a free account today by visiting daloopa.com/YAV and see how Daloopa can transform your workflow.

How do we predict our planet's most powerful forces? Neil deGrasse Tyson and comedian Chuck Nice learn about extreme weather, hurricanes, coronal mass ejections, and preparing for space storms hurtling our way with NOAA Administrator Richard Spinrad.NOTE: StarTalk+ Patrons can listen to this entire episode commercial-free.Thanks to our Patrons Dwight N Keown, Nathan Veatch, CURTIS J ESSEN, John Havranek, Vanessa Harding, Aiden Chauvette, Matthew Stork, SpaceTimePete, larry hughes, Anselmo Garcia, Nessa Nova, Tanya Henry, Neil Livingston, oliver stanton, Regis, Micheal Stewart, DP337, Rob Butler, Beth, and Caton Smith for supporting us this week. Subscribe to SiriusXM Podcasts+ on Apple Podcasts to listen to new episodes ad-free and a whole week early.