Podcasts about repaid

In this episode of The Commercial Property Investor Podcast, Jerry reflects on the highlights and successes of the year, offering a counterbalance to last week's discussion on challenges. From financial milestones to business growth, network achievements, and future prospects, this episode is all about celebrating the wins—big and small—that shaped 2024. Episode Highlights: Financial & Revenue Growth: Operational business turnover reached £1.4M—short of expectations but still a significant increase. Successfully secured favorable financing by holding out for the right loan, despite naysayers. Repaid nearly half a million in private debt and set plans to raise more funds in the new year. Improved revenue management with a professional, system-oriented approach. Notable growth in coworking revenue, with steady monthly increases. Community & Network Success: The CPI community continues to thrive, with customers purchasing several buildings this year. Hosted the largest and most successful CPI Network in-person event in Glasgow, followed by an inspiring mastermind session. Welcomed a new mastermind member, leaving only one spot available to ensure the group remains intimate and impactful. Key Achievements & Opportunities: Navigated the challenges of a tenant going bust, turning it into a positive asset management opportunity with a significant valuation uplift. Professional valuations confirmed progress and added confidence for future planning. Made strides in off-market discussions, paving the way for acquisitions in 2025. Brand Development & Awards: Commissioned brand work this year, providing clarity on the company's vision for the future. Exciting year-end recognition with nominations for two awards at the Property Investor Awards in London: Commercial Development of the Year (Over £1M) Commercial Developer of the Year Jerry shares plans to attend the awards ceremony and invites listeners to say hello if they'll be there too. Final Reflections:Jerry wraps up the episode with a reminder to reflect on successes and acknowledge progress, even when challenges seem to dominate. He encourages listeners to pause, take stock of their wins, and give themselves credit for their achievements—big or small. Key Takeaways: Success often comes through persistence, even when the journey is challenging. Growth is not just about acquisitions—internal improvements, system optimization, and community development matter too. Celebrate the wins, no matter how small, as they shape the foundation for future successes. Next Steps:If you're interested in partnering with us or learning more about upcoming projects, reach out. Also, stay tuned for updates on branding and future opportunities. Connect with Jerry: Website: Commercial Property Investor LinkedIn: Jerry Alexander Upcoming Events: Property Investor Awards, London – This weekend! Come say hi if you're attending. Until next time:Keep swimming, keep growing, and remember to celebrate your wins!See omnystudio.com/listener for privacy information.

[Jesus] said also to the man who had invited him, “When you give a dinner or a banquet, do not invite your friends or your brothers or your relatives or rich neighbors, lest they also invite you in return and you be repaid. But when you give a feast, invite the poor, the crippled, the lame, the blind, and you will be blessed, because they cannot repay you. For you will be repaid at the resurrection of the just.” (Luke 14:12-14) This turned out to be quite the dinner party in which Jesus has kindly confronted a lot of heart issues. In the previous sections, Jesus had addressed some heart issues of those invited to the party. In this section, Jesus ended up directing His words to the man who had invited Him, but His words are for more than just that one man at that one specific time. When You Give It was expected that people would host dinners or banquets and host people. In the Jewish culture, this was a regular thing. In our culture now, it's kind of a thing, right? But let's be honest, even without COVID restrictions, people don't seem to get together at one another's houses like they used to. Having dinner with others is an intimate setting where conversation is had, where food and stories are shared, and where relationships can grow deeper among friends, at least when done among true friends. We saw this practice in the early church and it's great. So why does Jesus say not to invite your friends, brothers, relatives, or rich neighbors? And does this mean you should never invite them over? Nope, not at all. Once again, Jesus is speaking to a heart issue here, not a practical one. Repaid by Others When Jesus said not to invite friends, brothers, relatives, or rich neighbors, it came with a caveat – lest they also invite you in return and you be repaid. This does not mean you shouldn't share meals with friends, brothers, relatives, or rich neighbors; this means you shouldn't invite those people and host them with the expectation of being invited in return. If an invitation to dinner has any motive beyond blessing them with a meal and enjoying a time of fellowship with them, then it's a wrong motive. We see evidence of this in situations such as politics or business. One party invites another over for dinner, may even lavish the guests with some gifts – all with the goal of getting something in return. This is the type of heart issue Jesus is addressing. If you're giving anything with an expectation of selfishly getting something in return, then you're not truly giving. Repaid by God Jesus gave instruction on how not to invite or give, then He contrasted it by giving instruction on how to invite and give. Jesus said to invite the poor, the crippled, the lame, and the blind – BECAUSE they cannot repay you. Jesus really goaded the Pharisees and lawyers here who tended to view everything from how it appeared on the outside and directed them to look inward at their motives by giving an outward example. But at the root of that motive to get something in return is pride. Who are we to expect anything? And yet Jesus tells us that by inviting the poor, crippled, lame, and blind we'll be blessed and repaid at the resurrection of the just. Some might wonder, isn't that getting repaid too? What's the difference in the two scenarios when both get repaid? The difference is in the heart and how people are viewed. In the first situation, the host invites with an expectation to get repaid by those invited. The first type of host views people as a means to an end. In the second situation, the host invites knowing their guests cannot repay them. The second type of host views people as worth something simply because they're people created in the image of God. And yet God in His goodness says He will repay them in heaven. Remember when Jesus told us in Matthew 6, “For where your treasure is, there your heart will be also”? If our hearts keep eternity in mind, we'll be doing things down here on earth simply because it's the right thing to do. In the first scenario, the host acted out of expectation of the desired outcome – being repaid. In the second scenario, the host acted out of love for the people, knowing they could not repay. And the reward in both scenarios is vastly different. The first one is fleeting, only to be had here on earth. But the second one is eternal and will not be destroyed by moth and rust or stolen by thieves. Compare and Contrast Think of this - when the devil invites people to his proverbial parties, he fully has the expectation that his tempting will yield an outcome of them sinning. It is the devil's goal to draw people away from God and his efforts are repaid in the souls he ensnares in sin. When God invites people to take the gift of salvation in Him in which we abide in Him and He in us, He fully knew we could never repay Him. And yet, we are the eternal reward He died to pay for. As we invite our friends and family over for dinner and when we give to others, may our hearts be aligned with the heart of Christ, in giving from a true, generous heart, seeing people for the worth and value in who they are and not for what whatever they can give in return. In doing so, we will reap the eternal rewards in heaven in which we can then lay down at the feet of our Savior in worship of Him, who gave Himself up for us and invited into the kingdom of God when we couldn't repay Him.

Good/Bad Stories from Loaning Money Wednesday 2/21/24

In this text we see that we see that we 1. Shouldn't invite those who can repay us (because they will), 2. Should invite those who can't repay us (because then we will be repaid in Heaven).

In this episode of The Power Producers Podcast, David Carothers and co-host Kyle Houck interview Andy Jeckells, Co-CEO at I–RE. Andy discusses how I–RE is changing the game with Repaid - a product that offers clients a risk-and-reward plan for insurance coverage.  Episode Highlights: Andy explains I–RE's Repaid product helps high-performing mid-market clients turn premiums into profit by giving them control over their insurance coverage and letting them take on limited risk for a limited time. (8:23) Andy discusses their program called Repaid which offers clients a risk and reward plan for insurance coverage, allowing them to choose their level of risk and receive a refund of premiums paid. (13:32) Andy mentions that Repaid offers a unique way for producers to differentiate themselves in the homogenous insurance market, by allowing clients to take on their own risk and turn insurance into a profit center, resulting in long-term loyalty and increased lifetime value of high-profile clients. (22:34) Andy discusses the importance of a hands-on approach to risk management, with a direct impact on insurance premiums. (27:08) Andy believes that insurance is still a people business where building personal connections and asking in-depth questions leads to better results and identifies the best clients. (32:24) Andy mentions that the moment of truth in insurance is when people realize they could lose money and have to take risks, especially when it comes to high-risk industries like sawmills, where the environment and workforce management are crucial factors. (35:13) Andy shares that he is excited about  I–RE's upcoming developments in products and professional liability in the healthcare sector and that they are also working on expanding their coverage options to become a one-stop shop for brokers. (43:23) Tweetable Quotes: “I think if you are a broker and you put your clients' long-term interests first…if you can give them something that can really help them, they will not only buy from you, they will repay you with their long-term loyalty. And that's what these products' been designed to do.” - Andy Jeckells “What our program does for producers is something remarkable. Because we operate in a world where the product, the insurance product, is pretty much homogenous. No one has any differentiation.” - Andy Jeckells Resources Mentioned: Andy Jeckells LinkedIn I–RE David Carothers LinkedIn Kyle Houck LinkedIn Florida Risk Partners The Extra 2 Minutes

In this episode of The Power Producers Podcast, David Carothers and co-host Kyle Houck interview Andy Jeckells, Co-CEO at I–RE. Andy discusses how I–RE is changing the game with Repaid - a product that offers clients a risk-and-reward plan for insurance coverage.  Episode Highlights: Andy explains I–RE's Repaid product helps high-performing mid-market clients turn premiums into profit by giving them control over their insurance coverage and letting them take on limited risk for a limited time. (8:23) Andy discusses their program called Repaid which offers clients a risk and reward plan for insurance coverage, allowing them to choose their level of risk and receive a refund of premiums paid. (13:32) Andy mentions that Repaid offers a unique way for producers to differentiate themselves in the homogenous insurance market, by allowing clients to take on their own risk and turn insurance into a profit center, resulting in long-term loyalty and increased lifetime value of high-profile clients. (22:34) Andy discusses the importance of a hands-on approach to risk management, with a direct impact on insurance premiums. (27:08) Andy believes that insurance is still a people business where building personal connections and asking in-depth questions leads to better results and identifies the best clients. (32:24) Andy mentions that the moment of truth in insurance is when people realize they could lose money and have to take risks, especially when it comes to high-risk industries like sawmills, where the environment and workforce management are crucial factors. (35:13) Andy shares that he is excited about I–RE's upcoming developments in products and professional liability in the healthcare sector and that they are also working on expanding their coverage options to become a one-stop shop for brokers. (43:23) Tweetable Quotes: “I think if you are a broker and you put your clients' long-term interests first…if you can give them something that can really help them, they will not only buy from you, they will repay you with their long-term loyalty. And that's what these products' been designed to do.” - Andy Jeckells “What our program does for producers is something remarkable. Because we operate in a world where the product, the insurance product, is pretty much homogenous. No one has any differentiation.” - Andy Jeckells Resources Mentioned: Andy Jeckells LinkedIn I–RE David Carothers LinkedIn Kyle Houck LinkedIn Florida Risk Partners The Extra 2 Minutes

Last week the Biden administration imposed sanctions on five Turkish companies and a Turkish national, accusing them of helping Russia evade sanctions and supporting Moscow in its war against Ukraine. US officials have repeatedly pushed Turkey to crack down on Russian circumvention of sanctions, particularly when it comes to the export of chemicals, microchips and other products that can be used in Moscow's war effort. Expert Sinan Ciddi joins Thanos Davelis to look at this latest round of sanctions, which underscore that despite repeated warnings, Turkey continues to help fuel Russia's war machine.Sinan Ciddi is a non-resident senior fellow at the Foundation for Defense of Democracies (FDD), where he contributes to FDD's Turkey Program and Center on Military and Political Power (CMPP). He is also an Associate Professor of Security Studies at the Command and Staff College-Marine Corps University and Georgetown University's School of Foreign Service.Read Sinan Ciddi's latest here:U.S. Sanctions Turkish Entities for Fueling Russia's War MachineMr. Erdoğan in New York: A Transactional Foreign Policy Should be Repaid in KindYou can read the articles we discuss on our podcast here:Thousands of Greeks rally as state workers strike over labour law plansControversial labour law set to usher in radical changes to employment practicesCyprus and Chevron unite for Aphrodite gas field

With a new weapon in hand the Crown Killers must frantically find a way home before all they love is lost! They begin to wonder what wait for them when they return to Metotiri. But nothing could prepare them for what happens next...   CAST Matty playing Shaavi | Halfling Assassin Kyle playing Jesui | High Elf Phantom Gunslinger Thomas playing Mardox | Human Bogan Barbarian Michael playing Drew | Ugly Human Druid Aaron | Dungeon Master   SOCIALS Twitter: @ValiantOdyssey Instagram: www.instagram.com/dndvaliantodyssey Patreon: www.patreon.com/dndvaliantodyssey Merch Store: https://www.etsy.com/au/shop/ValiantOdyssey Discord: https://discord.gg/nDVcPVvGwa   MUSIC CREDIT: ASKII Productions Kevin Macleod Epidemic Music Storyblocks

Sen. Mitch McConnell froze again today. What should we do about that? Students are saying they won't repay their loans. Because we continue to baby adults. Best of the left.

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On this week's episode of the podcast, we tackle your screenwriting questions from the February Webinar, "Becoming a Professional Writer: 4 Things You Must Know."Show NotesFree Monthly Webinar - https://michaeljamin.com/webinarMichael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAutomated TranscriptsMichael Jamin:That's the thing some people think because there's so much bad stuff on the air. Well, I can be bad. I can be just as bad as them. There's so many reasons why a show might be terrible. Some, not all of them come down to the writing. Sometimes you'll have a star and the star. This is what the, this is what they wanna do. And writing be their writers be damned. Sometimes it's coming from the network or the studio. This is what they want. And so they're paying for it. Sometimes there's so many chefs in the pot, executive producers giving notes. You don't even know what you're doing anymore. I mean, to me, it's almost like the business is designed to make mediocre shows. And only occasionally something breaks through. And god bless when that happens. You're listening to Screenwriters. Need to Hear This with Michael Jamin. Hey everyone, it's Michael Jamin and welcome back to another episode of Screenwriters. Need to hear this. I'm here with Phil Hudson. He's back. Phil is back. I, Phil.Phil Hudson:Hi. Good to be back. And I got a new microphone for all of you concerned about my audio.Michael Jamin:That's a good looking microphone. I gotta say, Phil, if you looked better than mine, that's the one real podcasters use.Phil Hudson:It was very expensive.Michael Jamin:I feel like mine is like a tin can. Yeah. . Yeah. All right. It's fine though. So here we had a special episode. Yeah, I always say that, but I always mean it. Cuz we've been doing a lot of free webinars. Phil and I have been doing once a month. And, and so we get a lot of questions and so we couldn't answer all the questions. It's about an hour long. And we choose a topic we really dive in. The past ones have included, what are they included, how to write a good storyPhil Hudson:For things you need to know to become a professional screenwriter. There was a, yeah, one we got leaving me.Michael Jamin:We got Mon Mo. We got one once coming up as well. Kind of like how to get past in industry gatekeepers, how to get your material seen by Hollywood Insiders. All this kind of stuff. Each, each topic. One week, it's each month it's gonna be a different topic. And if you'd like, if you'd like to be invited you can go to my website, MichaelJamin.com and, and just sign up for there. We, you know, we do it once a month and it's free. Why not? And, but one thing I've noticed, Phil and I've noticed is that we do these things. We get a ton of signups and maybe only a quarter or so of the people actually show up, which is so interesting cuz it's free. It's not the money. It's, and, and I, and I know I'm preaching to the choir cuz anyone who's listening to this podcast is not someone, is the same kind of person who show up to a webinar. So I know I'm preaching to the choir, but I say this because there's so many people who definitely want to make screenwriting a reality. They wanna sell their screenplay, but they don't put the work in. Like, if they don't, like, if you're not gonna show up to a free webinar from a hosted by a guy who's telling you what you should do, then how are you going to make it? It's just not gonna happen. Phil. Like, what are you doing?Phil Hudson:I 100% agree. And it's also, it's interesting, right? But I think it highlights what I've been saying is there are a lot of people who are seamers. I think that's a term we talked about early on in the podcast. Mm-Hmm. people want to seem like they are a screenwriter. So they go to the coffee shop, they have their screenplay open, they talk about their screenplay. It's the same screenplay. They never finish it. They never move on. I can't go do that. I'm working on my screenplay and they don't show up. This is an opportunity to sit with a working showrunner telling you exactly what you need to do to break in the industry and how to write good stories, all of these things. And they're just nohow.Michael Jamin:But it's also, it's like, all right, so you wrote one screenplay, but that's not enough. Like, and, but for the people listening, if you are doing what I'm telling you to do or are suggesting, at least you're writing more, you're writing more, you're taking classes, you're writing, you're getting feedback, you're going to event like you're non, this is nonstop until you break in. And then once you break in, it's non-stop again. Because it just doesn't end. You don't, the doors, you know, I don't know. So anyway, I commend everyone who's listening to this. If you want to come to the webinar, you're more than welcome. Go to michael jamen.com and you'll see thePhil Hudson:Free webinar, MichaelJamin.com/webinarMichael Jamin:Webinar. And yeah, you'll get an invite and then it's free. And then we send you a replay within like 24 hours. It's also free then if you miss it after that, I think, we'll, it'll be available for a small purchase fees because there's, there's work involved in putting these things up. But yeah, go get it. It's free. It's free. Okay. Are we, are you ready, Phil? So we got a lot of questions. I couldn't answer all them cuz there's a time limit. So here are the ones that that I couldn't answer.Phil Hudson:Yeah. And, and this is for the February webinar because we've had, you've had a lot of great interviews coming up and we didn't wanna hold those back. And you got some good ones in the pipeline too. It was pretty exciting. Oh yeah. So February q and a, again, if you do get on that, we will answer your questions. Now, there are some questions that we've answered in previous q and a, so I'm gonna skip some of those. Some of them continue to come up, Michael. Yeah. And for your new audience members, I think we'll address those because they're important questions. And I think you're gonna prevent a lot of people from struggling and spending a lot of money in places they don't need to to be writers.Michael Jamin:Yeah.Phil Hudson:One other note that I thought was pretty cool feedback for everybody. We did have someone sign up for your course and it was because they've attended three of these webinars and I thought it was pretty cool. He said he'd spent $4,000 on direct mentorship and your free webinars were better than that. And that's why he signed up for your course.Michael Jamin:That's, that's the problem. Where's he getting the, where's the mentorship? Like who's thePhil Hudson:What? We don't know. Four grandMichael Jamin:4K guys. So yeah. Come to these webinars, you'll get, you'll save $4,000,Phil Hudson:$4,000 value guaranteed. All right. I can't guarantee anything for Michael Jamon, I promise. Anyway, Norwood, let's go to question oh one, Norwood Creach, ask copyright. What is the status of writing a screenplay if it has a copyright?Michael Jamin:I don't know, , but here's the thing. I don't give legal advice on my at all. I guess it protects you in some way, but I don't, I don't, I've only registered one script I ever wrote with the writer Guild of America. That was the first one I wrote. But after that, every script that I make is copywritten by the studio that I sell it to. So there, it's their, it's their legal headache if someone wants to steal it. So if you want to copyright, you can. And, but I, I've done talks about, I don't know, your biggest problem is someone should wanna steal you. Your biggest problem is if your, your work is so good. Someone wants to steal it. That's usually another problem you have. Right? Here's the problems. Your work is so terrible, no one wants to steal it, so. Right,Phil Hudson:Right. Cool. And then are you concerned, there are a couple follow up questions. Are you concerned with AI screenwriting?Michael Jamin:You know, not right now. I, I, I'm concerned. I have bigger pro, I have bigger concerns with ai and that is destroying the world. That's why they want to do this pause on it. Of all the writing that AI is gonna take away, I think, I think creative writing will be last on the list. They will take away technical writing. Mm-Hmm. instructions and stuff like that. And maybe some forms of copywriting.Phil Hudson:Marketing writing is going away. I mean, I, that's a search engine optimizer for most of my digital marketing career. That's a real concern for us. And Google is leaning towards allowing that type of copy.Michael Jamin:Oh, okay. ButPhil Hudson:In terms of, so it would be authoritative and you have to know how to communicate with the machine. But anyway, Uhhuh .Michael Jamin:But in terms of ai, you know, I'm not, I'm not worried yet. Maybe I'm being Pollyanna, is that what word? But I'm not worried yet. Cause it's not, it's certainly not there yet. Maybe in five or 10 years, but right now it's not there at all. And it's not even close to being there. So, yeah.Phil Hudson:Okay. Awesome. And then do you have any suggestions for writing narratives for young writers?Michael Jamin:Yeah, I mean, it's the same suggestions for everyone else. I, I, I have that free lesson at michaeljamin.com/free. It's a, it's the same lesson I would give an older writer. There's no difference. The, the, the advantage that older writers have is that I think when you're writing, you have any two things, and I've said this before, but you need to have something to say and you need to know how to say it. And I teach people how to say it. That story structure, how to unpack it and having something to say that comes with, unfortunately that comes with age and wisdom and that, you know, it's not, it's, it's unusual when someone young really has a, knows what they want to say. My daughter, who's only 20, she's got something to say and it shocks me. Cuz when I was her age, I didn't have anything to say. So, but but don't, you don't have to worry about that yet. Just continue writing.Phil Hudson:Awesome. Annie k ask, what's the best way to know if your script is ready to be passed on or get you a job? Is it competitions, is it a mentor? Any other suggestions?Michael Jamin:Well, we've talked about competitions. I'd say there's, and you may know more about this than I do. I'd say about three of them that are probably worthwhile. Right. Yeah. And Austin Nichols and, and Sundance Sun.Phil Hudson:Yeah. Sundance has different labs. They shifted things a little bit prior to the pandemic where they're doing not just strict screenwriting labs anymore, but they have lots of different things. In fact, I'm, I'm attached to a screenplay coming out of Ecuador now because they have a fund Okay. Working with several fellows and things. And that's you know, I'm not writing the screenplay or anything, they're just attaching me as a script consultant because I have background there and been in the laps. But those are the only real ones that do anything. I mean, there, there are some other ones, like Big Break I think is a really good one that's on my final draftMichael Jamin:And you get to meet. Oh, okay. I hadn't even heard of that. I hadn't evenPhil Hudson:Heard of that one. Yeah. So there are some, and we've talked about that in other podcast episodes as well with what the list is. But I can tell you, and we did talk about this a little bit on our webinar this month, the lot of that is a, is a way of funding the rest of the film festival. Mm-Hmm. , it's getting the judges to attend. I was working with a guy who ran some film festivals and he actually had me reading the scripts and giving my opinion and deciding who would get the best and Right. You know, I was a studentMichael Jamin:And that's the problem. I mean, and if you're gonna, people say, whoa, I placed in the, like, you gotta, you gotta win or come in second or something. I don't think placing and then they still think it's gonna change their life. It rarely does. You still have to continue the hustle, you know? I was gonna do anotherPhil Hudson:Hmm. Go ahead, go ahead.Michael Jamin:Well, I was gonna do another talk about this. Some woman made a post, she's like, yeah, I've one, I placed at all these contests and I still can't get an agent. I'm like, even if you did get an agent, it wouldn't change. Move the needle. You gotta do all this yourself. So mm-hmm. and I, and I'm gonna do a whole webinar on that. I did, and I actually did that. I did one where we talked about it to some degree, but I'm gonna lean into it a little bit more. It's like, nah, you got, you're not doing enough, you're not doing enough.Phil Hudson:This is anecdotal, but someone in the chat in your last webinar said that they had a friend who placed on the blacklist mm-hmm. , and they were promised all this industry connection. Nothing happened.Michael Jamin:They didn't even get a meeting or, or what?Phil Hudson:No, nothing came about. Nothing came of it.Michael Jamin:Yeah. So, so it's, it's not enough. Like Winnie, you know, these contents are relatively new. They weren't around when I broke in. But then again, the industry's changed so much and things are, you, can, there are things available now that would help you that weren't available then? Namely the internet, namely making your own stuff on your phone name. I mean, namely, like learning so much from people who are around industry. When I broke in 90, well, I moved outta, I got outta college in 92. There was no internet, there was no, how do I get a job? I had to drive out to Hollywood just to meet people to ask the questions. Now you can find out the answers on the internet, you know, so there's way more access now. So it's not, I wouldn't necessarily say it's harder now, it's just different. Yeah. And in some ways it's easier.Phil Hudson:Yeah. And you've, you give out tons of free resources and most of your audience knows this by now, but you've got the free lesson. You've got your social media, which is great @MichaelJamin, and yeah, there's lots of good stuff out there that you put out that just didn't exist before.Michael Jamin:Yeah.Phil Hudson:Alright. Daniel will ask, what's the ideal job to pay rent and have the time to pursue screenwriting?Michael Jamin:The ideal job would be assistant to an executive producer. Perfect job. Because you're basically sitting at their desk answering the phones that don't ring. That's what I did for a couple years. And so during that time, I wrote, and I would ask them questions, and that's the ideal job. The next best job would be a writer's assistant. So you're in the writer's and you're, I mean, in some degree, in some sense, that may even be a better job. You're in the writer's room and you're listening to these writers. You're learning how they break stories, but then you don't have the time to write or you write, you have to write it on the weekends or at night. So the, the both are great jobs,Phil Hudson:But you're learning so much through osmosis just being in that room, listening. Yeah, yeah. And seeing it happen.Michael Jamin:Yeah. So that would be a fantastic job.Phil Hudson:All right. Follow up. How can I stay home and write while not making my girlfriend think I'm a bum ass?Michael Jamin:Your girlfriend isn't into you anyway, so you don't have to worry about it. How can you stay home and write? You know, you're gonna have to, you're gonna have to make priorities. That's the, that's the thing. That's the, I I feel because you know, my my writing partner, I don't wanna talk about him. Well, it's not really, I don't wanna tell his story, but he, he was going through similar things. You know, he had a girlfriend and he had he had to write on the side. And it was, it was the struggle. How do you, how do you balance? Oh, you're just gonna have to make that happen. I didn't have a girlfriend at the time. I don't have to worry about it. Yep. Phil Hudson:For me, when I was dating, I had what I call the red carpet test. I, I was so fixed on knowing exactly what I wanted to do with my life, which is be a professional writer. Yeah. That when things started getting serious with a a girl, I would ask them, how comfortable would you feel on a red carpet? Correct, mm-hmm. and no girl passed that test. They were all, they, I'd feel really uncomfortable. And then I asked my wife and she said that, and she said, oh, I, I wouldn't have a problem with that. And she's so supportive of me, like, so absolutely supportive of everything I do, that she understands that that's what I want to do. And she, I, I also prioritize what she wants though. It's, it's a give and take and a balance. Yeah. And, but that's, you just gotta find the right relationship. I think that handles that.Michael Jamin:Yeah, you're right. And if you're in the wrong one and they don't like you, then resentment's gonna your're bo 10 years from now, you're gonna resent her if she's gonna resent you. So, yeah.Phil Hudson:That, that's hard, hard advice to hear. But it's important advice is oftentimes your relationships, family and romantic will be the thing that holds you back from achieving your goals.Michael Jamin:Yeah. You know, my wife, she ran a, a, well, you know this for the girls. She ran a, a, a girl's clothing company and I, for, for it's 15 years. And I handled all the marketing and I wrote all the commercials. And then, then when she stopped doing that, she threw herself into helping me doing what I'm doing now. And she was like, I was like, well, you know, thank you for your help. She said, well, you, you supported me just as much, so now I'm just doing it for you. So it, it's that kind of thing. You, if you're not in a supportive relationship, you've got a problem. Yeah.Phil Hudson:Breakup. That's the answer. Yeah. Michael's not telling goesMichael Jamin:Back to, I told you she wasn't into you. .Phil Hudson:Alright. Delara, Casey, what would you consider a giant following on social media isn't requiring somebody to have a car? Oh. And then there's a follow-up question. So let's go with what would you consider a giant followingMichael Jamin:? No, I have no freaking idea. I have no idea. And I asked this of my agent on my book agent. I said, Hey, how big of a following do you need to have? I don't know. Okay. I don't know. I, I don't know. I don't know. I have no idea. And I asked my you're gonna have to ask a kid. I told, I had a, I had lunch with my nephew a couple weeks ago, and his friends, you know, they're young kids. They're, they're twenties, they're in college. And we were talking about TikTok and I told him, he said, yeah, we had a, a visitor, a lecturer come guy had a lot of followings. He had like 800,000 following followers. I'm like, oh, okay. That's a, i I got I got 412 and they thought, , they thought I'm meant 412 , right? Like 412 followers. And I said, no, no, 412,000. And they're like, oh, that's a lot. . So I don't know what I,Phil Hudson:I have an answer for this.Michael Jamin:What is thePhil Hudson:Answer? So, so because of my, what I'm currently doing, and you know, I'm, I'm now posting things professionally on my social media about being a, a writer or a, an associate producer or an assistant to these guys. And they're currently having me help them run their social media and do the promotional stuff for them for their new film. Quasi comes out on April 20th on Hulu, and that means I'm traveling with them and I'm sitting with a, a publicist from Searchlight Pictures and their publicist, who is the publicist for about half of the top comedians standup comedians, 50,000 followers.Michael Jamin:50,000 is considered an influencer in that spacePhil Hudson:That allows you to, they want to engage with you to selfishly promote their product or their people. ButMichael Jamin:What platform, cuz 50,000 on TikTok is said, it doesn't an Instagram,Phil Hudson:She said it doesn't matter. So anybody who has over 50,000, she wants me to write 'em down so that they can engage them about helping promote the film.Michael Jamin:It doesn't matter. She says.Phil Hudson:Yeah. So I'll confirm. I mean, I'm going back on the road with them, you know, in a couple days and I'll ask that question as a follow up, but 50,000,Michael Jamin:But I wonder number because reach has really changed. I wonder if they're aware of, of there's no reach anymore. Yeah. ,Phil Hudson:It's, it's a numbers thing for sure. Yeah.Michael Jamin:Okay. Interesting. There's your answer. 50,000.Phil Hudson:All right. Follow up question from Delara isn't requiring somebody to have a car, a form of discrimination to be a production assistant?Michael Jamin:You know, is it required? Is is is having two arms form of discrimination to be a baseball player? Well, that's the, you gotta swing a bat. So, you know, I don't know what to say. I mean, I don't know what to say about that.Phil Hudson:There, there have been people, by the way, there have been famous pitchers with one arm who have done the job Yeah. And done it. Well, the, the, I think this is just my opinion, a hundred percent Phil Hudson's opinion here. Mm-Hmm. , I think that we're too focused on discrimination and less focused on what is the requirement to be able to do the function of the job. Mm-Hmm. , if you have to get from white Woodland Hills, California to Pasadena to hand a script to an actor, and that's an hour and a half in your car in traffic, you can't rely on a bus to get you there to do that job. No. No. And that is a function that is a requirement of the job. And so having the vehicle is, and, and they don't say quality of the vehicle, by the way. And they, they cover your miles for the car, which is the wear and tear and the gas in the vehicle. Right. So that you get compensated for those things, but you just have to be able to do the function of that job.Michael Jamin:I mean, it would great if the studio had a car, a beater that, okay, you gotta drive the car. You here's the car, here's the, here's the studio car, and now you gotta run errands with the car. That'd be fantastic. But you know, there's, they, I don't know. You still have to get to work, you still have to find a way to get to work. You still have to know how to drive. Yeah. There'd still be obstacles in your way. SoPhil Hudson:No, no. If you're set PA and you're on set all day, that's a different story. Cuz you can get two set on time. Someone can drop you off, you're there for 12 to 14 hours and then somebody has to pick you up and take you home. Yeah. It's a different story. You can carpool with other people at work, if you're in the camera department colliding, whatever those are, you can do those jobs. But to be like an office pa or writer's pa you're getting people's lunches. You're, you're like going out and running errands. You gotta have a vehicle to do that job. So I don't think it's discrimination.Michael Jamin:I mean, the at the bottom line is like, people who have some money are always gonna have it easier than people who have absolutely no money. Mm-Hmm. . And so that's just the way it is. Is it fair? No. It's just the way it is. So I, I don't know.Phil Hudson:Yep. Until the machines start picking us up and we just get in the car without knowing why.Michael Jamin:Yeah. Maybe that'll happen. That's right. They'll have self-driving cars and PAs will be outta work. SoPhil Hudson:I don't know. Yep. There you go. They just throw stuff in the back.Michael Jamin:Yeah.Phil Hudson:All right. Ariel Allen asks, do you recommend starting with short scripts and just working those before moving to full length?Michael Jamin:Well, short, I mean, that's what I do as a TV writer. I, I write short scripts. They're 22 minutes long. I don't write features. So, and I think writing a, you know, a short script, a 22 minute script is takes much less time than writing a feature. So I recommend Sure. You know, that's why I write fe To me it's more interesting. I like the, the pace, the change than spending all this time on a feature, which could take a couple years in the same amount of time. I could bang out several epi several or, you know, on half dozen or so episodes of television. So,Phil Hudson:Yeah. And I think, and this is old data, so it might have changed, but I doubt it. The timeframe when being offered a script assignment for a feature is six months to turn in your first draft.Michael Jamin:Uhhuh probably defense. They want it yesterday, to bePhil Hudson:Honest. Right. But, but I think you have six months to get in your draft is, they'll push you for it. But that's what the Writer's Guild has is the timeframe Okay. To get in draft one. And then there's a time for the, for draft two. So that being said, how many pilots can you write in six months of tv?Michael Jamin:Me personally?Phil Hudson:You personally, as a professionalMichael Jamin:Screener. Oh. Oh, I don't know. I, I mean, I don't try to write that many pilots. I, you know, we write, we might do one a season, you know, one a year, youPhil Hudson:Know, because you, you're working writer two, so we gotta consider that.Michael Jamin:Yeah. But you could write, it's, it takes less time to write an episode of television on, you know, spec script than a, than a pilot.Phil Hudson:Sure. Okay. Another follow up question. I live in Texas and I'm nowhere near. Oh.Michael Jamin:But you know, hold on, Phil. One, one second though. I don't, I say yeah, if, if I find it very hard to tell a compelling story, that's if it's too short. If you don't have enough time, if you're only doing like five minutes, if you wanna write a short that's a five minute short, I would have, I would've a hard time telling a compelling story that amount of time. I think for me it's like 20 minutes is kind of the sweet spot. Maybe 15. But any shorter than that, it's like I, I, I don't know. I need time to get the plane up in the air. You know,Phil Hudson:When I was in film school, the assignments were your scr, your short could be no longer than like five minutes or three minutes depending on the professor. And yeah. Some of the professors were my age cuz I was a, a, you know, an older student and I talked to them after and they're like, yeah, it's just because I don't wanna sit through that much boring content.Michael Jamin:Yes.Phil Hudson:Right. Cause they couldn't tell a story. And, and that was, I've talked about it before, amazing cinematographers, great camera work, but nothing happening and it's just boring to watch, even if it's pretty. Yeah. So they would have those caps and then I had to hit that restraint for my final project. And because of your mentorship and the work that I'd been putting into writing, I knew that my script needed to be 12 minutes long and it was a 12 minute script and I cut it down to a five minute. And after my professor in my directing class was like, yeah, you, that story needs to be longer because there was not enough time to breathe and to fill those moments. And so, yeah. Yeah. I, it's definitely, and the formatting was very different too. Writing a short, we, we talked about that all the time as students is there's just not a lot of ramp up time to get across the information you need. And when you talk about those three fundamental things you need to know in a story in your, you talk about that in your free lesson. Mm-Hmm. hard, hard to get that across super fast and finish that plot in three minutes.Michael Jamin:Well it's also cuz you wanna make that end, if you want that end to be impactful, to really hit somebody, it's like, it's not even so much about getting all the exposition out. It's about like, what do I need to do to make that ending feel like a payoff to really feel emotional. And like, if you don't have enough time to do all the other stuff, the ending is just gonna feel unearned. It's gonna, you know, it's gonna feel un unearned, which is the, you know, bad writing.Phil Hudson:Right. Alright, follow up question from Ariel. I live in Texas and I'm nowhere near quote the industry. Yeah. How do you actually gain connections in the film or TV industry?Michael Jamin:Well, I think, I think the problem is you need to be in Hollywood. You, you, you're Ariel's saying, I wanna work in Hollywood, but I don't want to work in Hollywood. Yeah. Like, well, there's a problem. Yeah. And so, andPhil Hudson:There is an industry in Texas. There are a lot of filmmakers in Austin and a lot of people are moving to Austin. But what do you want to do in the industry? And this is the question I have from a lot of people. Would you stay in la Why are you in la? It's cuz this is where the writing happens. Yeah. If I could live in another state and do it, I probably would. Yeah. Taxes are better, A lot of reasons why. Less traffic, less pollution, all those things. But yeah, this is where the writing happens. And so this is where I am until I achieve that. Or I'm at a level where I can move somewhere else and then, you know, do the job from elsewhere. And, and I know that's like feature writers at a really high level, like in years in, in Academy Awards mm-hmm. , it's not something that's,Michael Jamin:And even they have to come back in for meetings. Although maybe with Zoom it's less and less, but they have to, you know. Yeah. But that's the, I mean that's the thing. It's like, I know she doesn't wanna leave Texas for whatever reason cuz she likes it there. She has friends, family, she, you know, whatever reason she doesn't wanna leave. But there are people who will leave and those people are gonna have a leg up. Mm-Hmm. . Those people want it more. No one wants to move away from their friends and family. No one wants to. And so the people who come out here like yourself are hungry because they're uncomfortable. They wanna make it happen because they've already sacrificed. So those people have an, have an advantage. And to be honest, I think they should because they've already given up more. They want more.Phil Hudson:Yeah. Sacrifice.Michael Jamin:Yeah. Yep.Phil Hudson:Justin, via, you mentioned early in your career you started working under a working writer who helped show you the robes. How did you approach that relationship? I think this referring to the the book writing for Doe what's his name?Michael Jamin:Oh, well I had Bill Addison mean, I had, I had a writing teacher and he was a retired guy and he lived in the Pacific Palisades and he had a class once a week in his, you know, dining room. And we all drove there. That, so yeah, I studied under him. He gotta study. You gotta, I always felt like you gotta study. There were, there were classes offered. I could have taken a class at UCLA Extension or something like that, but I wanted to be sure of who I learned from. And I found him a guy I wanted to learn from, the guy who had the job that I wanted. And so he was retired sitcom writer. Perfect. I didn't wanna learn from professional teacher, which many of them are, some of them are not, but many of them are. SoPhil Hudson:This is a question leader. How did you find him? What did you do to find that?Michael Jamin:You know what I, I heard, I don't remember who told me, but I moved to la moved to Hollywood. Now I'm in the circles, now I'm hanging out. I'm, this is where everyone comes here because they wanna become a screenwriter or actor or whatever. And so you're meeting people at parties who wanna do, who want the same thing that I want. And then you're talking, and then someone mentioned this guy, someone, he, he wasn't in the phone book, he wasn't on the internet. There was no internet back then. Someone mentioned his. And then I, I met, I learned it from someone who I was talking to. This is why people come to Hollywood. And I was like, great. Gimme his number. And then I went. So I, I don't remember who told me, but that's how I found out.Phil Hudson:Did you develop any kind of relationship with him? I think that's ju Justin's second part of that question. How did you approach that relationship? Or was it really just a teacher-student relationship where you show up, you kind of listen, he dictates down that kind of thing, orMichael Jamin:Yeah, it was teacher student. He told me, I, after reading some stuff that I would never make it as a professional writer. He thought he was doing me a favor cuz he thought, well, don't waste your time trying to do this. Do something else with your life. He, he wasn't trying to be mean. He was trying to do me a favor, but he didn't know me well enough. He didn't know me, that he didn't know how hard I work and how I tenacityPhil Hudson:There, there's a tenacity there that most people don't have. And so he saw where you were and said, this is as far as you will go, not knowing Yeah. You'd hit the wall until it broke down. Yeah.Michael Jamin:Right. SoPhil Hudson:Huge lesson in that for everybody listening by the way. Like, that's what you have to do. Yeah. Hit the wall until it falls down.Michael Jamin:Yeah. In, in college I wanted to be a creative writing. I just wanted to study, wanted to be in the creative writing program. I was good enough to take classes, but I wasn't good enough to get into the program where I, that was my major. And so they told me I wouldn't be a writer either. Yeah. Who cares? No one's, no one's gonna tell me what I get to do with my life.Phil Hudson:Look who's laughing now?Michael Jamin:No one's laughing. not even the audience.Phil Hudson:Michael doesn't make anybody laugh.Michael Jamin:Phil Hudson:When you say, okay, and then follow up, when you say it doesn't matter whose hands your script gets into, would you go as upload your script to online?Michael Jamin:I I, I, not necessarily. I I would be really, you know, I wanna know who I was giving it to. Not, but, you know, I wouldn't upload it to the, to the interwebs. And I, I meant it in terms of a great script. Ha has legs the same way a great show has legs. This like, here's the thing. I saw this great show, and I was gonna talk about this in one of my upcoming webinars and made a note of it. There's this guy named Derek Delgado, and he put on a show, he had a one-man show, it was on Hulus called in and of itself. Someone told me about it and I watched it and I was blown away. It was so original and so creative. I was blown away. I stopped when I was done. Let's go back to the beginning start. I've never do this.I never go back to the beginning when I just finished it. Let's watch it again, forget it. But I did that. And then afterwards I started telling everyone, you gotta watch this show. This is amazing. And and, and, and I was doing it. Like no one asked me to share it. I was sharing it because I was giving a gift. Like, go watch this. This is amazing. You're gonna love this. And I would look good in that person's eyes because I was the one who discovered this precious gem that no one else was talking about. I'm the only one who's, this is my little thing and now I'm giving it to you. And I felt like a gift. And that's what a great script could do. Like, you show it to someone and they're blown away if they're like, oh, it's okay. You're, nothing's gonna happen. But if they're blown away, they will tell people, not because they're trying to help you, but because they're trying to help themselves and make themselves look good to the, to their friends and family. And, you know, look what I just gave you this great recommendation.Phil Hudson:You might have literally just equated it to this, but could your audience equate it to finding that, show that water cooler talk, the one everyone wants to talk about and share with their friends?Michael Jamin:Yeah. Right. It's, and it's not, it's not like, you know, at the end of the whatever water cooler, white lotus or whatever, whatever's big right now, it's probably not white lotus anymore. But no one there wouldn't say, Hey, did you, no one says, Hey, if you enjoyed your show, this show, please share it with your friends. There was none of that at the end of HBO's episode of White Lotus. It was, people loved it and they just went to work the next day. You gotta watch this show. Yeah.Phil Hudson:So what, what was that moment for you, for the audience? What is that moment for you when you were watching a show and that's the level you want to be at to be a pro.Michael Jamin:Oh, well, but when you, when you, what, what are you saying? When you get,Phil Hudson:What I'm saying is for the audience member, think about a time when you watched a show and you well felt this is something I need to go tell Joe about or Mike about.Michael Jamin:Yeah.Phil Hudson:That moment, that quality, that's what you're striving for, to work at a professional level at the upper echelons of Hollywood. Yeah. And when someone has that experience with your script, that is what's gonna happen in script format.Michael Jamin:Yeah, exactly. Exactly. They'll, that's, that's when I say give it to, it doesn't matter who you give it to you, if you give it to someone and it's amazing, they will give it to someone else and they're not gonna give it to some idiot on the internet. They don't know they're gonna give it to a friend who can help someone who's further up the ladder. They're just gonna pass it along. You know, they give it to someone who knows someone who knows someone in the industry. And if it's great, it'll find, it'll, it'll, it'll start walking. Cuz little good scripts have legs. Yeah. And if it's not, if it's mediocre, it won't.Phil Hudson:Yeah. I, I put a script online, but it was also very well documented here on this podcast with you giving me notes that I wrote that script. So there is a paper trail of authority and ownership that goes back to me and logged IP addresses when you download it so that if someone stole it, I feel legally protected enough to do that. And it's of service. And I got great notes from a professional writer, Michael. So it was absolutely worth me doing that. I don't think either of us are suggesting you do that.Michael Jamin:Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not gonna spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.Phil Hudson:The question you've answered many times before but continually pops up because everyone focuses on this. At first, do you need an agent?Michael Jamin:Well, you do need an agent to get submitted to a TV show, to get the meeting, to get a pitch meeting. You do, you do need an agent, but an agent, an agent is really not gonna get you work. Mostly agent's, field offers agent will do the 5% of the work that you can't do. You still have to do 95% of the work. And so yes, you need an agent, but the agent is not the answer to your problems. And there's a lot you can do without an agent. So. Yep.Phil Hudson:And you've said before, any script you get when you're staffing a show, those people have come from someone with an agent. Yes. And you're still hoping for a good writer out of that batch.Michael Jamin:Yeah. If I get, if I'm staffing a show, and let's say I got three dozen scripts to read, which is not an exaggeration. All of them come from agents, all of them come from managers. You know, you can't submit to me, you can't, I won't touch it. So it all comes through a rep, a rep, and of those 36 scripts, maybe only one or two are any good. SoPhil Hudson:Yeah. Okay. this was a comment specific to the time, but I think it addresses something that happens on your website. Jeff says, so I'd love to take Michael's course, but it's currently closed. Sad face.Michael Jamin:Oh,Phil Hudson:Sad face. So the course is closed now. Yeah. you are now doing an enrollment period on the course. Do you wanna talk about that?Michael Jamin:Yeah. So once a month we open it up and it's brief. It's like three days or something fell, right? It's, it's like three or 40 or something like that. It's not a lot.Phil Hudson:A lot of people join which is great and a lot of people are getting a lot of value out of it, but we close it down so that we can provide a better experience to those people. Because when it's open all the time, it's a little crazy for both of us.Michael Jamin:Yeah. It was cra Yeah, it's, so we got on a row par, we onboard everybody, shut the door, take a breath, do it again nextPhil Hudson:Month, answer questions in the private group, the people in there help you out. All that stuff. So if you're wondering why the course is closed here's a hint. Maybe attend the live webinar.Michael Jamin:Yeah. You'll get a better, actually, if you attend the webinar, we, we give you a better deal. . Yeah. So come the webinar, you got a special deal. If not just get on my email list and you'll know when it's open. And when it's open, get in. And then if you miss it, get in the next time. You know, it's every month.Phil Hudson:Yeah. Got it. PJ works, and we've addressed this as well, but I think he phrases it really interestingly. Just curious, how do we have bad movies and TV shows if you have to be really good to be in the industry?Michael Jamin:That's the thing. Some people think because there's so much bad stuff on the air. Well, I can be bad. I can be just as bad as them. There's so many reasons why a show might be terrible and some not all of them come down to the writing. Sometimes you'll have a star in the star. This is what the, this is what they wanna do. And writing be damn writers be damned. Sometimes it's coming from the network or the studio. This is what they want. And so they're paying for it. Sometimes there's so many chefs in the pot, executive producers giving notes. You don't even know what you're doing anymore. I mean, to me it's almost like it, the business is designed to make mediocre shows. And only occasionally something breaks through. And god bless when that happens. But you know, why, why?Just because that's how it, this is the, the business. This is the, it's a business. So everyone wants through chasing the same thing. I read a book, but I think it was Charlie Hawk, he described it as everyone wants to make a hit show. Everyone's in a, in a life raft. And so you have the director, the actor, the writer, the studio executive, the production company, everyone. And everyone's got an org and they're paddling as fast as they can, but the raft is circular. And so everyone's paddling, but the raft is going around in circles because, you know, that's what the problem is. When you have all these, they all want the same thing though, which is to get to the other side. But they're paddling. And so that's what happens. You start spinning around.Phil Hudson:Yeah. Yeah.Michael Jamin:Unless you have a, you get lucky it's lightning in a bottle or you have a really strong showrunner who has enough f you minor to say no, but, and that's, and by the way, that's not me. So it's some people who have the clout,Phil Hudson:You know, there's a really good book on this called Difficult Men. And it's about the showrunners, A difficult man behind scenes of a Creative Revolution from The Sopranos by Brett Martin. And it talks about this, these showrunners who were those guys and they wrote Mad Men and mm-hmm. , all these shows that you know and love. And it, they just had the chops to do the job and the attitude to say no. But the chops were so good. They HBO and these companies just let them do their job.Michael Jamin:Once you start making a successful show, they usually back off. Once they learn to trust the showrunner, they back, they usually back off. But in the beginning, everyone's scared. And the bigger budget, the budget is every, the more scared everyone is.Phil Hudson:JJ Abrams just had a show canceled on h HBO this year.Michael Jamin:What was it?Phil Hudson:I, I can't remember the name of it, but it was like a massive budget. It was like one of the first things Discovery chopped. Like they just cut theMichael Jamin:Budget. Oh yeah. Well, becausePhil Hudson:They were cutting budgets everywhere. So, yeah. Two questions similar, gonna combine them. So she, Shea Mercedes and Leonte Bennett. How do we learn, or how can I practice screenwriting every day when I don't have an idea for a screenplay? And let me combine it with another, yeah. Bark bark 4 35. How can a beginner start to be a screenwriter? What are the first steps? So what, how do I write if I don't have any ideas? How can I learn to write and, you know, what are my first steps if I want to be a screenwriter? These feel very new to me.Michael Jamin:Well, if you don't have an idea, you're screwed. I mean, you know, but you don't have to have a good idea. You have to have, you don't have to have a great idea to have a good idea. And there's, it's the execution, which is which matters. I talk, one of the modules we have in the chorus and I, and trying to through one of the most popular ones is minding your life for stories. How, how to mine your life. Cuz you all have stories. People wanna, I think new writers think that let's create a world and let's create all the characters in this world. I'm like why bother? Why not just write what you know? And that way you, if you come, you take the story from your life. You don't have to create a story cuz it ha already happened to you. You don't have to create a character.You're the character. All you gotta do is figure out how to unpack the details of the story and that story structure. And that can be learned, that can be taught. That's what we teach. And so that's what I would do. I, you know, that's what I would do. Start writing what, you know, and what, you know, there's a misconception. You know, this guy on Paul Guillo, he, you know, he's a another writer on, on, you know, on the internet, on the social media. And he, you know, he talked about this the other day and I was like, he said it perfectly, which is people say, write what you know, but they don't really understand what that means. They think, well that means if you're a plumber, write about plumbing. Right. About a, your character is a plumbing plumber. No, no, no. Right. What you know means the internal struggles that you face.So if you are insecure about your education, your character write about a character who's insecure about that. If you're insecure with, about your looks or if you were abandoned as a baby, write about that. I mean, so it doesn't have to be the outside, it's the entire, it's the internal struggle. What you feel on the inside. That's what you know. And, you know great the Great Gatsby, you know, a great American novel, F Scott Fitzgerald wrote it. And so that's, that was about a guy who felt poor. He felt poor. And and he wanted the girl. And he, he always felt he would never have any self worth until he was rich. And then he'd be worthy enough to get the girl. As much as he loved the girl, being rich was more important to him cuz he always had the emptiness.And if you know anything about f Scott Fitzgerald's background, that was him. That's how he felt. And even when he had the, even when he earned money as a, as a novelist in the screenwriter, he couldn't keep it in his pocket. He had to spend it because that's how he felt. That was, that's how he felt whole on the, on the, you know, on the inside. And that's why he had a drinking problem. That's why he died at the age of 40 something because of an of alcoholism, because he had that hole. But the character of Great Gatsby's pretty close to him.Phil Hudson:Yeah. Yeah. Episode 39 of this podcast, A great writing exercise. There are some ideas in there and some other things that you can do to learn more about how to practice your skills and, and develop those things. But the other thing we talk about on this podcast often is being okay with yourself and being okay with your emotions and being okay. Being vulnerable. But you also talk about the dichotomy of when's, what's too far, what's oversharing. Yeah. So dive into the podcast a bit more if you're new and there's maybe we'llMichael Jamin:Do, actually that's a good point. Maybe we'll do a whole webinar on oversharing and stuff like that.Phil Hudson:Yeah. All right. So, so again, lots of questions about do I need to live in LA to be a writer? How to make connections with people outside if I'm not there. We've already addressed these LA's where the writing is, but you can make connections in your area and online. Your, your screenwriting course is a great place to do that. Mm-Hmm. , outside of that, there are Facebook groups. Lots of reallyMichael Jamin:Popular. Yeah. We have a private face. We have a private Facebook group just for the students and those guys. I gotta say Phil cuz I don't do this. Those guys are, they're, they're hitting it hard. They are having table reads. Mm-Hmm. , they're having script swaps, pitch sessions, pitch set, and like what? And like, I'm not in charge of that. They are. And it's because they're freaking focused and they just wannaPhil Hudson:Make happen. Like they're beginning guests too. Like one of, one of the writing members, Laurie, her, her husband is a pretty well known writer. Mm-Hmm. . And he came in and did a guest pitch session where people, writers pitched to him and he gave feedback.Michael Jamin:Good for him. Yeah. He,Phil Hudson:He's, he has famously one of the, I think it's the most valued script sold. And he came in and he did it to help you because that's a student. That's not a connection you or I have.Michael Jamin:Nope. Nope. There's a connection with another student. So like, I'm impressed and that's why we, and you know, we keep a close. It's like, you can't join. I get, we get people every day they want to join. Like, no, no, no, no, no. It's only for students because I don't want this turning into a cesspool of of trolls and, and idiots. Yeah. Like every other screenwriting group on, on Facebook where the people are just mean and stupid and and awful to each other. It's not what's going on in there. So Yeah.Phil Hudson:Absolutely. Cool. Gary Hampton, what would you say it's beneficial to volunteer to be a writer's assistant or producer's assistant to gain some practical experience?Michael Jamin:Well, you can't volunteer. I mean, it's a paying position. It's not an internshipPhil Hudson:And you can't intern anymore because some interns sued. And so no one wants to do that anymore.Michael Jamin:Right. So it's a paid position. It's not a, it's not a well paid position, but, you know, so you can't volunteerPhil Hudson:For it. That, that being said, personal experience with this. You, I remember I got a text, I was sitting in my office and you were like, Phil, there's a PA job on Tacoma fd. Do you want it? It pays horrible and the work sucks. And I said, I would do that job for free. And you said right answer and you told me that's exactly what you did. Like you volunteered. Isn't that how you got your job? You or your first one of your first Yeah, myMichael Jamin:First job, this was on a show called Evening Shade. This was a long time ago with Bet Reynolds. And and who else was in it anyway? Mary Henry. But I sent out resumes. I'll do, I'll please, I'll work for free. Finally, some someone said, fine, you wanna work for free, you can start tomorrow. We'll give you $300 a week. And I was like, 300, you know, now $300 a week is nice. Nothing , but I jumped at it. It's better than free. I jumped at it.Phil Hudson:Yeah. butMichael Jamin:It's only because he only offered me the job because I said, I'll work for free.Phil Hudson:You were willing to do it. Yep. So you had the desire follow up question. What's the best way to get into a writer's room? And I know that's a crap shoot.Michael Jamin:Get as a Well, the best way to get in as a writer's assistant, you know, but you, that's hard. You have to get in first. You get start as a pa.Phil Hudson:And the, and the answer to this, having done basically all of this over the last several years is bust your butt. Mm-Hmm. , serve, serve, serve. I remember. And I think I've, I think Seavers aware now. I remember there was one point where Seavert was like, yeah, Philip Burnout. And you were like, no, he won't. Cuz you've known me long enough. ButMichael Jamin:Did he say that? I conversationsPhil Hudson:There's a level, there's the level at which I was like putting out in the writer's room and I, I remember I overheard that conversation. You're like, not fell. I appreciate you having my back. But it gets, it gets exhausting at a certain level and you just have to keep putting up it.Michael Jamin:It gets emotionally exhausting too. That's probably the, that's probably even harder than the physical. It's like, cuz you're so close, you're five inches away from the seat that you want to sit in.Phil Hudson:You're sitting outside the room.Michael Jamin:Yeah.Phil Hudson:Yep. I, I would literally have to remind myself when I would get overwhelmed with like those thoughts. I'd say, this is the job I would've killed for two years ago, isMichael Jamin:The job. That's exactlyPhil Hudson:Right. I killed for three years ago.Michael Jamin:That's exactly right.Phil Hudson:That's how I kept going. It's not fun. And a lot of people are like, oh, isn't that beneath you? Like, nothing is beneath me as long as it helps me progress. Nothing.Michael Jamin:Mm-Hmm. . Yeah. So.Phil Hudson:Alright. How do you so love Leah Ann Clark. How do you stick to your story when people tell you that is not sellable because they have not lived through the events?Michael Jamin:Well if it's not sellable, like, I mean, I don't know who's telling you It's not sellable. No story sellable, just to be clear. You know, even if you pitch a two of i, I pitched stories. That's like, that's, I can't sell that. You know why? It's only the minute it sells, it's sellable. But if you tell a story authentically and truthfully, that's the only thing you can hope for, is to write a great story. That's what I say. I if you're gonna look for the, the market, oh, this is what the market's looking for. What's the market looking for? Forget it. That's a moving target. The minute you fire that hour, the target is gone. It's twoPhil Hudson:Years old too, soMichael Jamin:It's always changing. It's just like, you know, so, but all you get, all you can do as a writer is write a great story. That's the only thing that you have control over and not worry about selling it. Can you write a great story? And if you can, then it becomes a calling card. People will hire you to write something else. Just focus on writing a great story.Phil Hudson:Yeah. Another really good piece of advice in the industry is if there's a story that you feel in your soul you need to tell, don't put that one off. Write that one.Michael Jamin:Yeah. Write that one immediately,Phil Hudson:Right? Yeah. Yep. Jeff Rice Studios ask, could you talk about some of the staff management process of Showrunning or being the quote captain of the ship quote?Michael Jamin:Well, as the showrunner, you know no one becomes a comedy writer or even any kind of writer to even drama writer because they want to be a manager. They don't become, they don't, that's not why we go into it. They, if you did, you go into middle management, you get a job in the corp in a corporation. So you're, we all do it because you want to be creative. Then you rise to the level where you have your own show, or you're running someone's show for them. And and now you have to keep everyone motivated. And so the way you keep motivated, you know, is not by shutting people down. You have to lead, but you also have to make 'em feel like they have a voice. And this is tough. It's like, it doesn't make me comfortable at all. It's not why I went into it anyway, so I was to, was to do this. So, but you have to just be a decent human being and hopefully you know, but, but your job, by the way, is when you're on staff, your job is not to be creative, per se. Your job is to give the showrunner what they want. Mm-Hmm. is to help them make their show.Phil Hudson:Yeah. Awesome. Raven Wisdom when in a groove riding a scene and as happens, life interrupts the flow and you lose the moment. What has helped you to return to that moment or scene and continue that thought?Michael Jamin:You know, I, I, I guess, I dunno how long life is putting you on hold, but you should be, be, hopefully you're making time every day, even if it's only 15 minutes to, I mean, we all have 15 minutes. Right. You know? Yeah. I hopePhil Hudson:Famously, I think it was Hemingway would stop purposefully mid-sentence mm-hmm. so that when he sat down at his computer or his typewriter, he could pick up his thought. Yeah. And so I think that's something you just have to train out. And it's actually a good thing cuz facing a blank page, not knowing where you're gonna go next is far worse than reading the last sentence and then continuing typing.Michael Jamin:Yeah. Yeah. Yeah. Okay.Phil Hudson:All right. We've got a lot of questions here still, Michael. So we're gonna get through a couple of the last ones, and I think couple more. A lot of this is repetitive, so I'm just gonna pick probably four or five more, and then we'll wrap it up. Does that sound good to you? Yeah,Michael Jamin:That sounds good.Phil Hudson:Okay. If you're a writer hoping to staff on a traditional network, procedural style show, do you specifically need a procedure, procedural style sample, or just a great sample that shows your unique quote voice?Michael Jamin:I've never written on a procedural. Don't even don't like 'em. I don't watch 'em. I, I would assume it's probably both. They're gonna want more than one sample. They're gonna want a sample of a procedural, and they're gonna want a sample of something else.Phil Hudson:That's always the case though. It's always two, right? Yeah. You need a, you did it and it's not a fluke. You can do it again. Yeah.Michael Jamin:So I have won Beach. Yeah. Yeah.Phil Hudson:Yeah. Okay. All right. And Kay Films, do you remember shadowing a writer that is currently in the film industry?Michael Jamin:I don't know about shadowing. I've worked for many writers. I never shadowed anyone. I, I i that like, there's no such thing as shadowing a writer. A writer is just in front of a computer, and if you were to shadow them, you'd, you'd be standing over their shoulder watching them type, like, it'd be horribly uncomfortable for everyone. It's not like a, it's not a visual job to How do you open, how do you open final drafts? Like that's what you'd see. Yeah. but I, I, I've worked for our writers and I've talked to him about story. I've had conversations, I've worked for a guy named William Masters Simone, this is when I first breaking in. And he wrote a great movie called The Beast. He wrote called another one called Extremities with, I think it was Farrah Faucet. He was a playwright. He was a playwright out of New Jersey who worked as a grave digger. He was a grave digger, and he write plays, literally. And brilliant writer. That'sPhil Hudson:Fascinating. Like, I want to Yeah, that's a fascinating backstory right there.Michael Jamin:And he was such a sweet guy. So down to earth. And then he got brought on, I was working on a, I was the writer assistant on a movie called What's Love Got Love What's Love got to do with it? The Tina Turner story. And so he would come and he got, he flew in for I think three or four weeks to rewrite the script. Then I don't think he, yeah, I don't think he got any credit for it, but he got a boatload of money, I'm sure. And he came down to LA and he type up the pages on his old typewriter. Then I'd retyped them and put 'em into the computer and format it correctly for for the movie. And such a sweet man. He's like, let me buy you lunch. Here's pizza. What can I do? He was just so nice. I, I really loved his attitude. He was kind very down to earth. That's it. ButPhil Hudson:You've adopted that attitude too. I mean, I've, I've done things to, to help you because I want to help you and you've Yeah. Repaid in kindness beyond what I feel I've done for you. Well, thank you. I've seen you do that for other people as well, so,Michael Jamin:Yeah. You know, because no one, I don't, no one goes into screenwriting cuz they think it's gonna, they're gonna be in charge of the, the world. Yeah. You, you take another profession if you have a giant ego. But yeah, he was, he was a super nice guy.Phil Hudson:On those lines, Aaron ha has asked, what is the best way to approach someone who you want to mentor you or learn from them? Is there any specific things you did in that relationship or others?Michael Jamin:I don't know. I, I would imagine that's a question probably for you. I think what you do is you give first. Yeah. That's what you do.Phil Hudson:Yeah, a hundred percent. And, and that does two things. One, just naturally I feel of, I feel good and feel of value when I serve other people. Yeah. Like there's a, there's a feeling. For me it's very physical. It's like a kinetic, kinesthetic, like tingly feeling of good, right? When I do something for other people, it's a selflessness that I just, I think it comes from being very poor and not having, and knowing how valuable that little bit of help really moves the needle for people.Michael Jamin:And that's, so that's, that's the point then. So it's like when you approach someone as a men, when you want someone to be your mentor, you're basically saying, I, I want you to gimme something. I what you have. I want, can you give me what you, what you have? And so that's not the attitude. The attitude is what can I give you mentor to make your life better. What can I give you?Phil Hudson:I'm in the broken lizard social media right now, helping them with t

What a gameweek that was, not least due to the scores of players deploying their third and final wildcard chip.Wicks was left fuming while Charles' Reds triple up provided a rare opportunity to gloat.Coming up, though, it doesn't get anymore straightforward. 

Feel Good News

The story of my father, participating in the first Maccabiah (1932), how his life was spared, and how I repaid my debt.

Recorded Dec 4, 2022 Gear up for a very special edition of One on One with WWE Hall of Famer Teddy Long. This time, he and co-host Mac Davis are joined by none other than legendary pro wrestling manager Harvey Wippleman (Downtown Bruno), someone who is closely associated with the popular show - Young Rock. In this exclusive, Wippleman takes us back in time to the start of their relationship. And he also mentions how The Rock did something very nice for him!

Welcome to Episode 56 of THE unofficial West Bromwich Albion podcast All Things Albion. Boing Boing Music Credit: Kovan & Electro-Light - Skyline [NCS Release]

Matt and Nic return for another week of news and deals. In this episode: Matt's blog post, ‘It's Time to Grow Up' The Alameda - FTX relationship was always sketchy Would FTX ever have been able to go public? Why don't we have decent disclosure for token emissions? How do we put this crisis to use? John Ray's Day 1 filing about the state of affairs at FTX So what in the hell happened to the client funds at FTX? Will funds donated to politicians be clawed back? What's wrong with utilitarianism? How effective altruism is like Stalinism One theory on how Alameda lost money on Luna Some lending firms kicked out Alameda after the summer credit crisis Is Serum forking out coins which are due to FTX creditors? Why has the DOJ been so passive so far? We introduce some new bad boys Su Zhu and Kyle are trying to redeem themselves Do Kyle and Su have a new venture underway? Rep. Tom Emmer is elected as the GOP Whip in the House Will the Republican led House subpoena Gensler? Content mentioned in this episode: Matt Walsh in Medium, It's Time to Grow Up FTX CEO John Ray's Day 1 filing Sponsor notes: Talos powers institutional access to the entire digital assets ecosystem via a single-point of entry. Connect directly to your preferred prime brokers, lenders, investors, custodians, exchanges, OTC desks and more, or meet them on Talos. Get started at Talos.com Subscribe to the Coin Metrics State of the Network newsletter

Twenty-Second Sunday in Ordinary Time. Jesus tells the host of a wedding that he should not invite the people that he normally does but instead those who, perhaps for physical or financial reasons, are unable to repay him.  If he does this, Jesus declares that he "will be repaid" by God in ways beyond human imagining. Recording is of a Mass offered at 14 Holy Helpers Church in West Seneca, NY at 9:00 am on August 28, 2022.

The Detail talks to Newsroom's Melanie Reid about the years she's spent covering the Peter Ellis case.

"LUKE 14:1, 7-14 REFLECTION - Un-repaid" Kids Ministry Coffee Break 64: Jesus invites us to give up the games we play which is centered on honoring ourselves and, instead, to honor others for God.Alright, so I made this word up. At the end of this passage Jesus talks to the religious leaders at this dinner and tells them to invite those who cannot repay them to dinner. He began with explaining the negative consequences of playing the game of taking seats of honor. In an honor/shame culture like 1st century Israel, the message is clear. We lose the message in our culture because we don't function by honor/shame. We hold SOME value in what others think about us, but we put more stock into what we think about ourselves or, in the case of the church, our understanding of what God thinks about us. In Jesus' day, what the community thinks about you is key. If you are thought highly of, your family name is given great honor through you. Hence, there is a great emphasis on being a part of the family of God in the Kingdom for the purpose of bringing God honor. Jesus is watching the chair game unfold amid the bigger dinner game. People invite each other over for dinner to basically pass honor back and forth within the closed circle. Rev. Pat invites Rev. Chris and Rev. Alex over to honor them with a seat at the table while they honor Rev. Pat by their presence. Then Rev. Chris hosts the next dinner for the same game followed by Rev. Alex. The cycle continues. Then…at each dinner, these guests vie to take the seats of honor by the host to be more highly regarded by those at the table. So this wonderful occasion for fellowship and connection becomes, instead, a game to bolster one's own status. What a waste! Jesus watches the whole thing and then exposes the silliness of the game by flipping it on its head. “Why not take the lowest seat so that then you are invited up to a better seat in front of everyone?” If everyone started fighting over the lowest seat…how funny would that be? And…what if they aren't invited up to a higher seat. Then they just look silly. Jesus then invites them to abandon the entire game. Invite those without any honor. You will host the dinner and offer your honor to them…but your honor will go un-repaid. They cannot honor you back. But you will be repaid by the just in the resurrection. _____________________- We get invited into similar games in the church. We want people to come and be a part of our activities who look like us, dress like us, drive cars that look like ours. We want the right kind of people to come through our doors. We want MORE people to come because it will make our ministries look more valid. We will appear to be better leaders if we grow the right kind of attendance. Jesus invites us to stop all of those games. Instead, invite those who will leave you un-repaid. What might the people we are reluctant to invite and minister to actually have to teach us in the humility which comes with ceasing to play the game? May we seek no repayment of esteem and status on earth and, instead, trust that God will see the genuineness of a ministry which is perfectly comfortable being un-repaid. As you consider what this means for you in your context, may you find freedom from the games we are all encouraged and inclined to play. —and may this Kingdom freedom fill you with life and joy. Message brought to you by Rev. Joseph Sanford of Sanford Curriculum (Student ministry resources available on The Sunday School Store written by he and Lauren Sanford). Music by The Muse Maker

Have you heard about Nelson Nash, Infinite Banking, Becoming Your Own Banker, Bank on Yourself, and want to learn more? Or maybe you're already using Infinite Banking, but would like to be able to explain it better to your spouse, your parents, your children, business partner, or friends. We're continuing our series on the basics of the Infinite Banking Concept and answering your "what" questions. Today, we're unpacking: What is the Cash Value of Life Insurance? https://www.youtube.com/watch?v=YVAk0pT7kgY So if you want to see how cash value works as a living benefit that enhances your life today … tune in now! Table of contentsWhat is the Cash Value of Life Insurance?How is Cash Value Related to Death Benefit?What is the Net Present Value of a Future Death Benefit?What Makes My Cash Value Grow?What is the Effect of Guaranteed Interest on My Policy?What is the Benefit of Having Cash Value?What Part of the Policy Can I Borrow Against?What Happens to My Death Benefit When I Take a Policy Loan?What Happens to My Principal and Interest on a Policy Loan When the Loan is Repaid?What If There Is An Interest Balance Leftover?What Can I Do With My Dividends?Book A Strategy Call What is the Cash Value of Life Insurance? What is the Cash Value of Life Insurance? Cash value is the equity portion of your whole life insurance policy that you can access and use. It is a part of your death benefit, not separate, and you can access and use it during your lifetime. Cash value accumulates in a few ways: premium payments, guaranteed interest, and non-guaranteed dividends.  How is Cash Value Related to Death Benefit? Because cash value is like the equity of your death benefit, the value represents the accessible portion of your death benefit. As your policy matures, it rises to meet your death benefit. So your cash value is designed to equal your death benefit by the time it endows. The current endowment age is 120. Since endowment represents your ability to access the full value of your death benefit, the policy pays out to you and the contract is complete. However, you're still guaranteed to receive the full death benefit if you pass away at any point before endowment. That's the power of a whole life insurance contract. But because the cash value is equity, not a separate account, the payout is not cash value + death benefit. You receive the full death benefit.  What is the Net Present Value of a Future Death Benefit? The Net Present Value of your future death benefit is another way of describing the equity in your policy. The “net present value” is the current present amount of your cash value account, which is a portion of your future death benefit.  What Makes My Cash Value Grow? Over time, your cash value grows as a product of your premiums, interest, and dividends. Your premium–the payment you make to keep your insurance in place–is the main source of cash value growth. However, insurance companies also guarantee that they will pay a certain amount of annual interest, as well as any company profits in the form of dividends. The cost of the insurance itself affects the growth. For example, premium payments must first cover the cost of insurance. When you pay a premium, that money contributes to payroll, investments, and commissions. The remainder is what you have available in your cash value. Since the cash value is the net present value of a future death benefit and the risk to the company lessens with time. Think about it: the risk to the insurance company is greatest when you open a policy. There's a chance, however small, that you only make one premium payment before you pass away. But because the policy is in force, the company must pay the full death benefit. Over time, you pay more and more into the policy, so the actual costs are decreasing and instead contribute more heavily to your cash value.  Another way to grow your cash value is through guaranteed interest.

How protected are you if the brokerage firm where you hold your stocks, bonds, and crypto assets files for bankruptcy? Why you shouldn't store your crypto assets with an online broker.Topics covered include:How traditional brokerage firms protect their client assets in case of bankruptucyHow cryptocurrency brokers, such as Voyager, mistreat their clients in bankruptcy proceedingsWhat is the safest way to hold cryptocurrencySponsorsKeeper - keep your passwords safePolicygeniusMoney For the Rest of Us PlusShow NotesVoyager To Acquire Circle Invest Retail Digital Asset Business From Circle Internet Financial—CisionWelcome, Circle Invest! Voyager Acquires Circle Invest's Retail Customers—VoyagerCrypto lender Voyager Digital files for bankruptcy by Shivam Patel, Sinead Cruise, and Tom Wilson—ReutersCrypto lender Voyager addresses customer anger in first bankruptcy hearing by Dietrich Knauth—ReutersIf a Brokerage Firm Closes Its Doors—FINRACrypto Broker Voyager Digital Says Three Arrows Capital Hasn't Repaid $666 Million in Loans by Vicky Ge Huang—The Wall Street JournalFrom $10 billion to zero: How a crypto hedge fund collapsed and dragged many investors down with it by MacKenzie Sigalos—NCBCRopes & GrayUpdate on Customer USD and Crypto—VoyagerInvestors lament potentially lost ‘millions' on Voyager bankruptcy by Brian Quarmby—CointelegraphCoinbase Quarterly ReportCFTC Charges MF Global Inc., MF Global Holdings Ltd., Former CEO Jon S. Corzine, and Former Employee Edith O'Brien for MF Global's Unlawful Misuse of Nearly One Billion Dollars of Customer Funds and Related Violations—Commodity Futures Trading CommissionSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

My grandfather works for Firestone tires for 1 or 2 days in the 1920's and never gets paid. Firestone repays the debt. My thoughts on Californias reparations committee and Newsome wanting to buy votes. our backyard work now that the patio cover is installed. --- Send in a voice message: https://anchor.fm/footnotesfromamadman/message

Today, in episode 568, our expert Infectious Disease Doctor and Community Health Specialist discuss what you need to know about Public Health. We talk about how the war in Ukraine is bad for tuberculosis in the country, as well as how credit companies will remove stains from repaid medical debts, and how spider silk can be used for cancer treatment. As always, join us for all the Public Health information you need, explained clearly by our health experts. Website: NoiseFilter - Complex health topics explained simply (noisefiltershow.com) Animations: NoiseFilter - YouTube Instagram: NoiseFilter (@noisefiltershow) • Instagram photos and videos Facebook: NoiseFilter Show | Facebook TikTok: https://www.tiktok.com/@noisefiltershow --- Send in a voice message: https://anchor.fm/noisefilter/message

For most of history, and in much of the world today, there were no effective police, courts, prisons, or states. People and groups protected themselves according to the law of honor immortalized as the epitaph of the Roman consul Lucius Sulla: No friend ever served me, and no enemy ever wronged me, whom I have not repaid in full. Jocko and Darryl discuss honor and vengeance in societies ancient and modern.

✨ New 4YE Apparel Collection ✨The gang whipped up another audio exclusie to converse:The old Wendy's Sweet & Sour sauceThe great Jamaican robberyGetting your IG hacked easilyBad parking situations for bad peopleVery far basketball seatsShow your support for the return of the old Wendy's SS SauceCarlo on the Vocals*****Watch more from ushttps://linktr.ee/4YE See acast.com/privacy for privacy and opt-out information.

Welcome to Episode 31 of All Things Albion The unofficial West Bromwich Albion podcast. A much happier episode this week because The Baggies beat Hull City FC 2-0. We also discuss whether season tickets are value for money with a special passionate speech from Steve. Finally we discuss the loan that is yet to be repaid and preview our game against Huddersfield. Hope you enjoy Boing Boing! Music Credit: Kovan & Electro-Light - Skyline [NCS Release]

Biblical Reflections By Rev. Father Felix Kyei Baffour with Your Host Maria Appiah. Please SUBSCRIBE Now to Mary's Castle Podcast to Receive New Episodes when Published. Thank You!

In this episode, we have Igors Puntuss, CEO of Bulkestate, as our guest. Together with Igors, we discuss Bulkestate's journey over the past five years, and the main things that investors should expect going forward. Bulkestate is one of my favorite platforms. Contrary to other players in the market, they have an understated approach and focus on delivery rather than hype. Here are some of the main numbers from Bulkestate's performance over the past years. Total funding volume originated as of 31.12.2021: € 24 307 835,00 Total number of projects funded: 135 Weighted average annual return: 14.33% Number of active investors: 10 171 Capital lost: 0 Repaid objects: 86 Defaulted objects (Historically): 6% Delayed objects: 13% Biggest project: Marijas Street 1 750 000 EUR with 740 investors and 17% return. That ended up being 2% more than planned. With regard to group buying, here are the main stats: A total volume of group-buying deals: 14 992 883 EUR Number of group-buying deals: 4 Total area sold in group-buying deals: 15 350.8 sq m Number of participants in group-buying deals: 83 Total units sold: 95 Links Bulkestate is 5 years old

A rocky past flies in out of nowhere to confront Squal on a debt owed. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/rumpropelledgaming/message

Gaye Davis - EWN Reporter  See omnystudio.com/listener for privacy information.

Investigations into the irregular R150-million Digital Vibes contract have so far yielded little results as only R12-million has been repaid by those who benefitted illegally. According to the Special Investigating Unit (SIU), approximately R22-million is contained in several bank accounts resulting from cash flows from the Digital Vibes Nedbank account. On Tuesday, SIU head advocate Andy Mothibi and his senior management presented their investigations into the procurement of Covid-19 personal protective equipment (PPE) and other related matters to Parliament's finance watchdog Scopa. Mothibi told the committee that on 17 June 2021, the Special Tribunal granted the SIU an interim preservation order or interdict against Digital Vibes and 11 others for just over R22-million. "In terms of the interim order, the SIU had to file the review application on or before 29 July 2021. The SIU submitted and filed its review application to the Special Tribunal against Digital Vibes and 29 others to review and set aside the two contracts that were awarded by the national Department of Health (NDoH) to Digital Vibes in respect of the NHI media campaign and the Covid-19 media campaign, and to recover the full value (approximately R150-million) paid out under such unlawful and invalid contract," Mothibi said in his presentation. He said thus far, the SIU had received R12 179 429.90 from or on behalf of some of the respondents. Close associates The health department initially contracted Digital Vibes for the National Health Insurance (NHI) campaign in 2019. Former health minister Zweli Mkhize allegedly pressured officials to appoint the company owned by his close associates Tahera Mather and Naadhira Mitha. According to the SIU, Mkhize approved two budget applications for Digital Vibes for NHI communication amounting to R132-million. On 20 January 2020, an amount of R46 939 550 was approved 52 days after the Digital Vibes service-level agreement (SLA) was signed on 29 November 2019. On 16 June 2020, R85 502 500 was approved for NHI communication work (from 6 March 2020, Digital Vibes only delivered Covid-19 communication services). This amount was approved 199 days after Digital Vibes' SLA was signed on 29 November 2019. The SIU determined from the Tender Evaluation Committee (TEC) report, containing the combined scores of all the Bid Evaluation Committee (BEC) members, that one BEC member's score was altered for the second bidder from "3" to "2". This resulted in the overall score of the second bidder being 59.2%. If the score was not changed, the second bidder would have "qualified for functionality". "The end result was that the second bidder failed to meet the required 60% for functionality, disqualifying them from advancing through to the next stage of the tender process. Digital Vibes quoted R141-million, and the second bidder quoted R69-million. It should be noted that Digital Vibes was R72-million (104%) more expensive than the second bidder," Mothibi's presentation read.

When you get that urge to bless someone, do it! You never know what may happen!

Total global debt continues to grow and hit new records. While many will cite the drop in debt to GDP, the reason behind the drop means this is not as encouraging as it may sound. The honest truth is that the world has a debt load that cannot be repaid. There are two roads out of this mess, and they both lead to the same place: default.

Rent moratorium extension 100% of back rent paid for tenants that went through covid Samaritan House in San Mateo is helping people to see if they qualify --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/j-w54/message Support this podcast: https://anchor.fm/j-w54/support

John David owed Arvid Helloian a debt. Arvid was content to wait to be paid back, until a family crisis back in Armenia forced him to ask for immediate repayment. When John David refused, Helloian snapped, leading to one of the most shocking crimes of 1921.

I thought there wasn't another me out there. But it seems that there is. This woman is undoubtedly my soul sister. Leila Hormozi is a phenomenally successful woman. She started a company called Gym Launch and now owns three 8-figure businesses! Not bad for somebody whose mother tried to commit suicide in front of her when Leila was still a teenager. But instead of being broken by her tumultuous upbringing, Leila used it to become strong. She pushed past the guys at the gym to build her body, and studied hard to develop her mind. The results speak for themselves. It also turns out that both of us have a liking for telling it like it is, so let's get to it.

The coterie escaped the burning club and made their way back to Mayday Malone's. Ridley (Ryan LaPlante, @theryanlaplante) found himself a new victim, Iris (Megan Miles, @meggiemiles) tried to charm the mysterious Joslyn St. James, and Everett (Tyler Hewitt, @Tyler_Hewitt) found himself frozen by his morality when facing his own monstrous nature! What will happen now that the coterie have a night off? Featuring our Storyteller Tom McGee (@mcgeetd). Enjoying Blood & Syrup? You can become a Patron of Dumb-Dumbs & Dice for as little as $1 a month at www.patreon.com/dumbdumbdice and gain access to a ton of extra BTS fun. You can also get cool merchandise featuring your favourite Dumb-Dumbs & Dice characters and catchphrases at www.redbubble.com/people/dumbdumbdice Learn more about your ad choices. Visit megaphone.fm/adchoices