Podcasts about respected

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

If you've ever walked out of a meeting thinking, “Why didn't that land?”Or if you've ever felt invisible in corporate…Or if you're building a life outside of corporate and wondering why some conversations connect and others fall flat…This episode will hit you hard.Today, Brett welcomes back Jake Stahl — author of the brand-new book Own the Room and creator of the STRATA framework, a system for reading people, decoding signals, and communicating with true presence instead of performance.Twelve years ago, Jake lost everything to opioid addiction — his marriage, his home, his reputation, and the identity he'd spent decades building. But his path back didn't begin with a new job or a second chance.It began with learning how to read people.Jake realized that most communication has nothing to do with the words being spoken. It's the signals beneath them — the micro-expressions, the posture shifts, the emotional triggers — that determine whether someone trusts you, connects with you, or shuts down entirely.Today, Jake breaks down STRATA, the six-part framework you can use to own every room you enter: • Signal: What you broadcast before you say a word • Trigger: The moment resistance appears • Reframe: How you shift someone's lens without force • Anchor: Making the insight stick • Transfer: Turning your idea into their idea • Action: Where the next step becomes inevitableWe talk about how STRATA applies to sales, relationships, leadership, marriage, friendships — and most importantly, the escapee journey. Because leaving corporate and building your own path requires one core skill:

Questions? Thoughts? Comments? Leave me a voicemail message to use in a future podcast episode: https://www.speakpipe.com/timschmoyerComment on the full post here: https://read.timschmoyer.com/p/training-for-authority-i-dont-haveI've really appreciated the feedback I've received lately from people who are following along as I explore this “eldership” role in more detail, especially the critical comments that point out the gaps I'm missing in all this.I want to address one of the most common critiques because it was helpful for me to wrestle through, so hopefully it is for you, too.The critique is best theologically summarized by my friend, Sonny Silverton, who commented on an earlier post:Do you delineate between πρεσβύτερος and ἐπίσκοπος or ποιμήν? Have you considered that Paul might be talking about ordained overseers vs older dudes who are merely wise and righteous?The heart of the question is this: “Tim, you're talking about eldership as if it's something for every God-fearing man out there, but the Bible doesn't seem to treat it that way. The Bible talks about elders as men who are specifically selected and ordained by the laying-on of hands.”The honest answer? I hadn't worked through the details of it yet, so I'm glad he pushed me in that direction. I've been writing about city elders and elder qualifications more generally because I still believe they are noble qualifications and roles that every man can aspire to live by (1 Timothy 3:1).But Sonny's question forced me to dig a bit deeper into what Scripture actually means when it uses these three terms for elders. What I discovered brings a lot of clarity to what we're aspiring towards as God-fearing men.Three Words, But One TrajectoryVery briefly, scripture uses three primary Greek words that English translations render as elder, overseer, or shepherd.* Presbyteros refers to an older man, someone with age, maturity, and experience. The guy has authority simply because of accumulated years and demonstrated character. These are the men at the city gates in Proverbs 31:23, the respected voices in community decisions, the ones younger men seek out for counsel.* Episkopos means overseer or guardian. It's someone who watches over others with authority. Paul uses this term interchangeably with presbyteros in passages like Titus 1, suggesting these aren't separate offices but overlapping roles. The overseer holds responsibility for the welfare of those under his care.* Poimen is shepherd, the one who feeds, protects, and guides the flock. Peter uses this image when he tells elders to “shepherd the flock of God that is among you” (1 Peter 5:2). The shepherd doesn't just manage — he knows his sheep, understands their needs, leads them to good pasture.Scripture often blends these terms together. The ordained elder (presbyteros) serves as an overseer (episkopos) who shepherds (poimen) God's people. An elder carries all three dimensions: maturity, authority, and care.Subscribe to join me and other Christian men in pursuing the noble task of eldership (1 Tim 3:1).The Office vs The CharacterYet scripture does create a distinction between the office and the qualifications of eldership. The office of elder (presbyteros) in the church requires ordination, the laying on of hands by apostles or those they appointed. Timothy himself was charged to appoint elders in every town (Titus 1:5), establishing them with authority to teach, correct, and shepherd the congregation.Not every mature man holds this office. Paul is clear: these men must be appointed, recognized, set apart for this specific work.But the qualifications? Those belong to every God-fearing man who want to engage in this noble pursuit. Mature in the faith. Self-controlled. Hospitable. Able to teach. Managing his household well. Not a drunkard, not violent, not quarrelsome. Respected by outsiders.These aren't requirements set aside solely for church government. They're the portrait of biblical manhood at its fullest expression. They describe the kind of man who fathers well, works with integrity, speaks wisdom into difficult situations, and earns the trust of his community whether or not he ever holds an official church position.This is why Paul writes that aspiring to the office of overseer “is a noble task” (1 Timothy 3:1). The nobility isn't in the title. It's in the character formation required to serve that way. It's in becoming the kind of man whose life qualifies him for such responsibility.What this means practically: not every mature man will be ordained to church leadership. But every mature God-fearing man should be growing toward elder-level character. The qualifications in 1 Timothy 3 aren't just for those who might someday serve as church elders. They're the target for masculine development for all of us.City Eldership in the Old Testament (and us today)So where does this leave city eldership, the idea of men serving as fathers to their communities, not just their congregations and homes?As far as we know, the city elders at the gate in Scripture weren't ordained religious leaders. They were respected men whose character gave them natural authority in community decisions. When Boaz needed witnesses for his transaction with Ruth's kinsman-redeemer, he gathered ten elders from the city gate (Ruth 4:2).The Hebrew word used in Ruth 4 (and throughout the Old Testament) is zaqen (זָקֵן), which primarily means “old man,” “aged,” or “bearded one.” The meaning is consistently about age and the natural authority and wisdom that comes with it.This is closer to what I mean by city eldership. Not running for city council (though some men will be called there too), but becoming the kind of man the community knows they can trust. The father who helps other fathers navigate raising teenagers in a digital age. The business owner who mentors younger men building their own companies. The grandfather whose home becomes a gathering place where wisdom flows freely.These aren't ordained shepherds of God's flock in the appointed sense, but they're men living out elder-level character in their spheres of influence.What Eldership Looks Like in the KingdomFor me, this all connects directly to Jesus' principle that faithful stewardship today is the training ground for authority in the Kingdom in the age to come.I know I use this passage a lot, but in the parable of the minas (Luke 19), Jesus rewards the faithful servants not with retirement or rest, but with responsibility. The servant who proved faithful in managing one mina receives exousia (authority) over ten cities.Some dismiss this as “just a parable,” and we shouldn't read too much into it, but Jesus isn't the only one teaching this principle. Paul states it as settled fact in 1 Corinthians 6:2-3:“Do you not know that the saints will judge the world? ... Do you not know that we will judge angels?”And in Revelation 2:26-27, Jesus promises directly:“The one who conquers and who keeps my works until the end, to him I will give authority over the nations, and he will rule them with a rod of iron.”I don't think Jesus' parable in Luke 19 is just a metaphor. Scripture repeatedly affirms that faithful believers will exercise actual governing authority in the age to come. The only question is how much authority, which seems to depend on how we steward what God entrusts to us now.The Progression Scripture Describes for MenNotice the progression Scripture lays out:* The zaqen at the city gate earned natural authority through decades of faithful living. And some of those men are appointed to a be the presbyteros in the church.* The faithful steward in Luke 19 receives Kingdom exousia, the ruling authority over cities, as a reward from Jesus himself based on how they managed what He entrusted to them.* The overcomer in Revelation 2 who perseveres in faithfulness receives exousia over entire nations, ruling alongside Christ with the authority to govern.* The saints in 1 Corinthians 6 will judge not only the world but even angels, exercising authority that extends beyond human affairs into the spiritual realm itself.It's the trajectory that starts in Genesis 1 to “rule and reign, to be fruitful and multiply.” And all of it rooted in one principle: present management determines future authority.Subscribe to join me and other Christian men in pursuing the noble task of eldership (1 Tim 3:1).Why This MattersThis is why elder qualifications matter for every man, not just those pursuing church office. You're in training for rulership.* The father managing his household well today is being prepared to govern cities and nations in the Kingdom.* The business owner treating employees with justice and mercy is learning how to exercise authority righteously.* The man navigating conflict with wisdom and patience is developing the character required for judging between people—and eventually, even judging angels.Peter connects these dots when he reminds elders that “when the Chief Shepherd appears, you will receive the unfading crown of glory” (1 Peter 5:4). Crowns are worn by rulers. Present faithfulness as an elder—whether ordained in office or living out elder character in your sphere—is rewarded with future glory.God is looking for men He can trust with nations because they first proved faithful with minas. Men who learned to serve before they're given authority to rule. Men who became zaqen-level leaders in their communities before receiving exousia-level authority in the Kingdom.Answering Sonny's QuestionSo where does this leave Sonny's original critique? He's right. There absolutely is a distinction between ordained church elders and “older dudes who are merely wise and righteous.” The office requires ordination. Not every mature man will hold it, and that's ok.But I don't think that distinction minimizes what I'm after here. The elder qualifications are a character blueprint for every man headed toward Kingdom rulership, whether you're ever ordained or not.Paul assumes the Corinthians already know this. “Do you not know?” he asks, almost incredulously. God-fearing believers will rule. The only variables are scope and timing, and those seem to depend entirely on present faithfulness.The question is: am I becoming the kind of man whose character qualifies me for Kingdom responsibility? Am I managing my household in a way that proves I'm ready for tomorrow's city?My family isn't the finish line. Neither is a church office. They're training ground for authority that stretches into eternity—over cities, over nations, over the world, even over angels. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit read.timschmoyer.com

In this Q&A episode, Veronica and Chris unpack the real property questions investors are facing right now. From ATO debt rules to cashflow pressure and portfolio structure, this episode gets straight to the point and cuts through the myths.They break down a $5.3M portfolio spread across Logan, Townsville, Shepparton, regional WA and Melbourne's fringe, revealing why “affordable” properties often deliver slow long-term growth — and when selling is actually the smarter move.The conversation also dives into rising insurance costs in flood-prone markets, including Gold Coast premiums hitting up to $20K a year. Veronica explains how underinsurance, flood overlays and lender behaviour could reshape future buyer demand.Finally, Chris explores whether AI-driven job losses could weaken the property market, or simply concentrate demand into fewer suburbs. If you want clearer strategy and better decision-making, this Q&A delivers the insights investors need now.Episode Highlights00:00 — Introduction and Listener Questions Overview00:25 — James' Question on Refinancing Loans05:43 — Michael's Property Portfolio Deconstruction18:14 — Nick's Question on Flood Insurance and Property Desirability20:36 — Insurance Challenges and Borrowing Concerns22:42 — Gold Coast Property Insights26:42 — AI's Impact on White Collar Jobs and Property Market27:59 — Future of Property Market Amid AI Revolution37:14 — Investment Strategies in a Changing Market41:50 — AI in Property Decision MakingLinksEpisode 374: How Will Climate Risk Impact Your Property's Future Value?About the GuestMark Errichiello is a licensed buyers and vendors advocate and the Co-Founder & Director of Master Advocates, a Melbourne-based property advisory firm known for its strategic, data-driven approach to acquisitions, valuations, and auction representation. With decades of hands-on experience, Mark has attended every Block auction since the early seasons and understands the dynamics of high-pressure televised auctions better than most.Mark has represented bidders in both metropolitan and regional markets — including acting as an anonymous strategic bidder during the Phillip Island Block season — giving him unique insight into how buyer psychology, auction order, and market fundamentals shape outcomes. His commentary cuts through hype and focuses on realistic pricing, fair value, and the long-term risks buyers often overlook.Respected for his measured, forensic approach, Mark brings clarity to situations where emotion, spectacle, and production expectations collide with real market behaviour. His expertise helps buyers navigate fast-moving environments and make confident, well-informed decisions.Connect with GuestMark LinkedInMaster Advocate FacebookMaster Advocate InstagramMaster Advocate YouTubeResourcesVisit our website: https://www.theelephantintheroom.com.auIf you have any questions or would like to be featured on our show, contact us at:The Elephant in the Room Property...

Respected and admired? Sam and Al life in recovery. Step 11 Readings from “Opening Doors Within” by Eileen Caddy and “24hrs a Day” by Richmond Walker. #12steps #recovery #addiction #AA #CA.

Chamberlain's Progressive Presidency at Bowdoin College — Ronald White — Chamberlain returned to Bowdoin College as president, respected by figures like Ulysses S. Grant. He immediately advocated for bold institutional changes, declaring the college had "touched bottom." His progressive vision included introducing science, establishing a medical school, and implementing co-education for women—measures that frequently met alumni resistance. Despite administrative pressures, he remained a highly sought-after and eloquent public speaker.

Rommel was increasingly critical of Hitler's flawed personality and his callousness regarding troop lives, ultimately dying because he was a respected military professional who commanded the loyalty of the Wehrmacht. Patton repeatedly displayed abusive behavior toward subordinates, physically and verbally, dating back to WWI. While this behavior was problematic, it was also integral to his impetuous, risk-taking style that made him a great armored commander. Montgomery earned the lasting respect of his peers, despite interpersonal conflicts, exemplified by Omar Bradley's simple note, "thanks," left on his grave. Retry

The Block 2025 auctions were billed as a massive TV spectacle — but what unfolded in Daylesford turned out to be one of the most revealing auction finales the show has aired in years. Five nearly identical, fully furnished homes were pushed to market on a single afternoon, each carrying price expectations the local market was never built to support. What followed was a rare moment where real buyer behaviour overpowered reality-TV momentum.To break down what really went on, we're joined by buyers and vendors advocate Mark Errichiello, who attended the auctions, tracked buyer behaviour, and has followed The Block's auction patterns for years. Mark explains how quoting in the low $3 millions set unrealistic expectations from day one, how the quality of the build couldn't compensate for a non-premium location, and why bidder confidence evaporated the moment prices edged toward $3 million.We unpack the psychological chain reaction inside the room — how the stalled results of House 2 changed the energy for every house that followed, how auction order heavily influenced who bid and when, and why mid-auction reserve changes shattered trust and halted momentum entirely. Mark also highlights overlooked costs buyers faced this year: stamp duty on cars and furnishings, rising Victorian land tax, and the long-term financial drag of prestige builds in regional markets.This episode strips back the theatre and exposes the real mechanics at play — from buyer sentiment to pricing strategy to the risks of flipping homes far from their emotional sweet spot. If you want the unfiltered version of what The Block 2025 really showed us about Australia's property market, this conversation is a must-listen.Episode Highlights00:00 – Introduction to the Block Auctions01:18 – Meet the Expert: Mark Errichiello01:52 – Auction Day Insights and Challenges02:52 – Market Realities and Auction Strategies04:33 – The Block's Unique Auction Dynamics05:43 – Behind the Scenes: Vendor and Agent Dynamics09:02 – The Realities of Property Flipping11:10 – Investment Considerations and Risks12:28 – Decoy Bidding Strategy13:38 – Market Sentiment and Future Trends14:54 – Final Thoughts on the Block Auctions19:59 – Pricing a Property with Furniture22:31 – Victoria's Land Tax Changes and Market Impact24:11 – Strategic Moves and Missteps in Property Auctions27:24 – Renovation Strategies for The Block34:34 – Melbourne Market Insights38:40 – A Memorable Client Story40:39 – Conclusion and Final ThoughtsLinksArticle: Behind the Hammer Inside The Block 2025 Daylesford AuctionsAbout the GuestMark Errichiello is a licensed buyers and vendors advocate and the Co-Founder & Director of Master Advocates, a Melbourne-based property advisory firm known for its strategic, data-driven approach to acquisitions, valuations, and auction representation. With decades of hands-on experience, Mark has attended every Block auction since the early seasons and understands the dynamics of high-pressure televised auctions better than most.Mark has represented bidders in both metropolitan and regional markets — including acting as an anonymous strategic bidder during the Phillip Island Block season — giving him unique insight into how buyer psychology, auction order, and market fundamentals shape outcomes. His commentary cuts through hype and focuses on realistic pricing, fair value, and the long-term risks buyers often overlook.Respected for his measured, forensic approach, Mark brings clarity to situations where emotion, spectacle, and production expectations...

The news of Texas covered today includes:Our Lone Star story of the day: Respected judge on the Fifth Circuit Court of Appeals, Jerry Smith, says of the ruling blocking Texas Congressional redistricting: “If this were a law school exam, the opinion would deserve an F.” Smith called the action of district court judges Brown and Guaderrama “outrageous conduct.” Smith said of the three judge panel that it was the worst he has ever seen in a case in which he was involved and accused Brown of “pernicious judicial misbehavior.”It wasn't just the terrible legal opinion, Brown and Guaderrama appear to have short circuited the judicial process with an attempt to derail Judge Smith's dissenting opinion. Judge's scathing dissent casts redistricting ruling as ‘judicial activism' Dissenting Judge Slams Colleagues for Blocking Texas Congressional Map ‘Nobel Prize for Fiction': Federal Judge Issues Fiery Dissent to Texas Congressional Redistricting Ruling Judge in Texas redistricting case slams move to strike down new map In addition, this is a must read: SCOTUS must save Texas from meddling liberal judges, by Mike Davis.Our Lone Star story of the day is sponsored by Allied Compliance Services providing the best service in DOT, business and personal drug and alcohol testing since 1995.Lt. Gov. Patrick spitting nails over a lawsuit filed over the creation of his favored new bureaucracy, the Dementia Prevention and Research Institute of Texas.Attorney General Ken Paxton gets a win for law and order over Harris County's Soros-style soft on bail policies.TX19: Republican Abraham Enriquez announces campaign for Congress in Texas' 19th District.Listen on the radio, or station stream, at 5pm Central. Click for our radio and streaming affiliates.www.PrattonTexas.com

Do you aspire to earn the respect of your team as a leader? Discover the secrets to becoming a respected figure in your organization through executive coaching. Apply to join Dr. Grace's program here: https://masteryinsights.com/mentorship-pc Respect is a crucial component of effective leadership. In this episode, Dr. Grace Lee unveils the path to earning your team's trust and becoming the person they truly admire. Learn the insights that can transform your approach and enhance your team's view of you.   Show notes and free resources: https://CareerRevisionist.com/episode217 Do you want to move up in executive leadership? Want to elevate your communication skills, leadership abilities and influence in the world around you? If you're ready to start leveling up in your career and you want to develop all of the skills and professional acumen that will allow you to grow into senior executive positions with confidence, apply here: https://masteryinsights.com/mentorship-pc Answer a few questions to see if you qualify for Dr. Grace's executive coaching program, then book a time to speak with a member of our team. --------- Thank You for Listening! I am truly grateful that you have chosen to tune in. Visit my Youtube channel where I release new videos weekly on executive career growth, communication, increasing income, and professional development. Please share your thoughts! Leave questions or feedback in the comments below. Leave me a review on iTunes and share my podcast with your colleagues. With Love & Wisdom, Grace

Send us a textKeywords: communication skills, leadership, women in business, clarity, confidence, influence, personal development, business growth, speaking skills, emotional intelligence, leadership communication, confidence building, Natalie DawsonEpisode SummaryIn this power-packed episode, Jamie breaks down the communication framework used by Natalie Dawson—the CEO, podcaster, and leadership expert known for her crystal-clear, outcome-driven communication style.If you've ever wondered how certain leaders command a room, speak with confidence, and earn respect without raising their voice… this episode gives you the blueprint.Jamie walks through the exact process Natalie uses to communicate with intention, clarity, data, and consistency — and how you can implement these steps immediately to elevate your leadership, relationships, and business.Whether you're leading a team, building your brand, or wanting to improve how you show up in conversations, this episode is your tactical guide to speaking with purpose and influence.What You'll Learn✔️ How to define the outcome of your conversation before you begin ✔️ Why emotion-based communication undermines your authority ✔️ How Natalie uses data instead of feelings to make her message land ✔️ The filler words that make women sound less confident — and how to remove them ✔️ How to give feedback like a leader (without guilt or conflict) ✔️ Why consistency is the key to being respected ✔️ A 24-hour communication reset you can start todayKey TakeawaysClarity beats confidence. Know your outcome first.Data builds trust. Remove emotional language.Direct isn't rude. Tone calm, message clear.Feedback must be immediate to be effective.Consistency creates credibility.Standout Quotes✨ “If you don't know the outcome you want, the other person wins by default.” ✨ “Data builds trust — emotion builds confusion.” ✨ “You don't need to feel confident to speak clearly.” ✨ “Your communication is your leadership.” ✨ “Say it clean. Say it direct. Say it with purpose.”Chapters00:00 – Warm Welcome + Why Communication Matters 02:14 – The #1 Thing Natalie Does Differently 04:32 – Speaking With Data Instead of Emotion 07:10 – Why Filler Words Kill Confidence 09:45 – The Feedback Formula Leaders Use 12:58 – The Power of Showing Up the Same Way 15:40 – The 24-Hour Communication Reset 18:02 – Final Thoughts + Listener Challenge 19:15 – Outro + Call to ActionListener ChallengeTry the 24-Hour Natalie Dawson Communication Reset:Remove filler wordsSpeak in dataWrite the outcome before each conversationKeep your tone calm and steadyGive feedback immediatelyMessage Jamie on Instagram and share what changed for you.Resources Mentioned“Building Billions” Podcast (Natalie Dawson)Cardone Ventures Leadership PrinciplesStay Connected

Perhaps no other driver in NASCAR history earned a similar off-track relationship with Dale Earnhardt as Rusty Wallace.  Unsurprisingly, it was Rusty's gritty racing style that garnered that admiration, and while Dale Sr. and Rusty stayed fierce racing rivals, they also spent many years vacationing together. In this episode of DJD Classics, which originally aired 3/25/2019, hear all about Rusty's rise to the top of the racing ranks, from his initial big break to capping off a Hall of Fame career. Rusty recounts his decision to retire early and pursue another passion of his - calling races on TV and MRN. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

We learn weekly from Lessons in Tanya chapter 38 about the hidden love we inherited from Avraham, Yitzchak, and Yaakov Avinu. We all can live with Mesirus Nefesh on the Unity of Hashem. Awaken this deep part of our souls to elevate ourselves from animals to humans in all our Torah Mitzvot. We dedicated our learning to the soldiers of the past 2 years, especially Meir Shimon ben Gavriel, etc... Also, we are dedicated to the Charlie Kirk Legacy - Special Event - "Join us for a powerful occasion honoring *Charlie Kirk*'s memory - Israel, the Sabbath, & Freedom - Official Video - https://youtube.com/live/LE_l1S1kNAA?feature=shareThe evening will feature an in-depth interview with P. Rob McCoy, where he will share his personal journey and relationship with Charlie Kirk. Plus, hear moving personal reflections from *Nissim Black* on the meaning and impact of *Charlie Kirk*'s life and work. - ❤ Book Now #NissimBlack Booking@NissimBlack.com #unitybookings #booknow DM https://unityinspireprojects.com/musicians/ ‪@TheNissimBlackShow‬

In this powerful and transformative episode, Dr. Alisa Whyte sits down with Michael Shaw — Creator of the Mastery Mindset Library — for an inspiring conversation on healing, growth, and the pursuit of inner freedom.Together, they explore how to transform personal trauma into lasting triumph by reframing limiting beliefs, mastering mindset awareness, and reclaiming emotional power. Michael shares his journey of overcoming deep-rooted challenges and how those experiences shaped his mission to help others create alignment between thought, purpose, and action.The discussion dives into:How self-awareness becomes the foundation for transformationTools for rewiring thought patterns and breaking free from mental loopsThe link between emotional intelligence and authentic successPractical strategies to turn pain into purpose and adversity into fuel for growthListeners will gain empowering insights and actionable tools to help them overcome inner resistance, reconnect with their higher potential, and embody true freedom from within.This episode is a must-listen for anyone ready to evolve beyond past limitations, cultivate resilience, and build a life rooted in clarity, confidence, and emotional mastery.

In this episode, I sit down with Brooks Loughry, who brings over 20 years of experience in the aesthetic medical industry. We talk about how medical spas have evolved, what it takes to stand out in such a competitive market, and why discounting your services can actually hurt your business.   Brooks shares his approach to building sustainable, value-based business models through strong team training, smart marketing, and unforgettable patient experiences. We also dive into the power of referrals, how to boost sales without slashing prices, and what really drives long-term success in this industry.   Tune in for practical, no-fluff advice to elevate your practice and increase profitability without compromising your worth.   What you'll hear in this episode: [02:40] Challenges and Opportunities in Med Spas [05:35] The Business Side of Med Spas [11:40] Discounting and Membership Models [16:25] Long-Term Patient Value and Retention [26:15] The Power of Referrals in Business [27:10] Nuances of Discounting and Value Exchange [28:00] Building Loyalty Through Personalized Experiences [36:15] Reducing No-Shows and Cancellations [39:55] Effective Rebooking Strategies [41:10] Avoiding Common Business Pitfalls   If you like this episode, check out: Keep Your Business Profitable with Strategic Cost Management A Deep Dive into Your Profitability Strategy The $5M Bottleneck   Connect with Brooks Loughry: LinkedIn: Brooks Loughry Instagram: @brooksadvises Email: Brooks@bioenergylabs.com   Learn more about our CFO firm and services: https://www.keepwhatyouearn.com/   Connect with Shannon: https://www.linkedin.com/in/shannonweinstein Watch full episodes: https://www.youtube.com/channel/UCMlIuZsrllp1Uc_MlhriLvQ Follow along on IG: https://www.instagram.com/shannonkweinstein/   The information contained in this podcast is intended for educational purposes only and is not individual tax advice. We love enthusiastic action, but please consult a qualified professional before implementing anything you learn.

We covered topics - Origin Story of National Association of Women Sales Professionals (NAWSP)- What impact do you want to create?- Recognized. Respected. Rewarded.™- What was the turning point for you when you decided you were done being visible but voiceless?- How were Black women forced out of the workforce?- What can Black women do to get back to the workforce?- Why don't businesses see the loss in ROI by letting them go?- What can DEI Consultants do to help these women?- What advice do you have to help them earn 6 figures?- What is one thing they should do to protect their career?- What's the boldest bet you made and how did it pay off?----Important LinksGuest - LinkedIn ( https://www.linkedin.com/in/cynthiabarnes ) Website - cynthia-barnes.comOffer - Your First $10K Contract ----Download the white paper ROI of DEI, ⁠click here⁠ → ROIofDEI.ai⁠ Any feedback? please email ⁠vikram@73bit.com⁠

Catch “The Drive with Spence Checketts” from 2 pm to 6 pm weekdays on ESPN 700 & 92.1 FM. Produced by Porter Larsen. The latest on the Utah Jazz, Real Salt Lake, Utes, BYU + more sports storylines.

The decision to opt out of organ donation should be respected.That's the view of the President of the Medical Council of Ireland, Dr. Suzanne Crowe.It follows the publication of figures in response to a recent parliamentary question, which revealed over 55,000 people have signed on to a HSE register to opt out of automatic organ donation upon death.Under current revised legislation, everyone is assumed to be an organ donor unless they have expressed otherwise on the register.Dr Suzanne Crowe joins Seán to discuss.

The decision to opt out of organ donation should be respected.That's the view of the President of the Medical Council of Ireland, Dr. Suzanne Crowe.It follows the publication of figures in response to a recent parliamentary question, which revealed over 55,000 people have signed on to a HSE register to opt out of automatic organ donation upon death.Under current revised legislation, everyone is assumed to be an organ donor unless they have expressed otherwise on the register.Dr Suzanne Crowe joins Seán to discuss.

Give my spoilers liiiiiife!!!! Thanks to Abigail, Bryan and Teddy for recommending this Spooky Spoiler! ********* Respected medical lecturer Dr. Frederick Frankenstein (Gene Wilder) learns that he has inherited his infamous grandfather's estate in Transylvania. Arriving at the castle, Dr. Frankenstein soon begins to recreate his grandfather's experiments with the help of servants Igor (Marty Feldman), Inga (Teri Garr) and the fearsome Frau Blücher (Cloris Leachman). After he creates his own monster (Peter Boyle), new complications ensue with the arrival of the doctor's fiancée, Elizabeth (Madeline Kahn). Release date: December 15, 1974 (USA) Director: Mel Brooks Story by: Mel Brooks, Gene Wilder, Mary Shelley Screenplay: Mel Brooks, Gene Wilder Producer: Michael Gruskoff Running time: 1h 46m

Todays podcast is longer than normal but waiting a fortnight for Part2 was, I thought, too long, so here it is in its entirity.Melanie has been drawn to helping those in trouble since she was a teenager. Prior to joining NSW Police, she was a volunteer at her local (NSW) Rescue Squad (part of the Volunteer Rescue Association) & after being part of the rescue effort @ the Thredbo Ski Village disaster in 1997,policing was her obvious next step. Mel retired after dealing with the consequences of a silly decision she made but which many of us might consider also, given the same circumstances. Even after Policing, Mel still helps save people in distress through the Good Samaritan App - something Victoria needs desperately.. .. . Hosted on Acast. See acast.com/privacy for more information.

This week's episode of stick together brings you union news from across the country as well as an in-depth look at the social and community service sector. The ASU which covers workers in this field is fighting proposed changes to the pay structure for those on the SCHADS award. Host James Brennan speaks with the ASU's Phillipa Balk about these changes and the campaign to fight back.

Interview by Haze   / mike_tall   We recently sat back down 2 Eleven for a brand new “Off The Porch” interview! During our conversation he talked about his store The Level Up continuing to grow, Queen Latifah stopping by the store, doing a partnership with Congresswoman Maxine Waters, his love for fashion since he was a kid, being hands on with the pieces that are sold in the store, the fashion trends in different cities & regions, wanting to expand to a second store, his upcoming project ‘Profit & Loss', still being inspired almost 20 years in the rap game, the West Coast revival, his experience at Kendrick's pop out show, the recent unity in LA, explains how he earned & kept his respect, chemistry with G Perico, new single “Black Dynamite” with Jay Rock, going to Colombia & recording a project, the inspiration for his song “Champagne Parties”, goals for 2025, shares advice, and much more! Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, you'll learn how to set boundaries that stick using the FIRM framework: Figure out your limits, Inform others, Give a reason, and Make a suggestion. Boundaries don't have to be hard or awkward...if you use this frameworkFREE Resources: Watch this Free Class!: 3 Secrets to Always Having Enough Time For Your Work, Your Family and Yourself ( https://www.alexishaselberger.com/register-now ) ⁠⁠Click here to grab your free Distraction Action Plan today and start saving hours  each week! ( https://www.alexishaselberger.com/reduce-distraction )This show is brought to you by: ⁠Time Well Spent : the time management course for real people, just like you, who want to do more and stress less -  https://www.alexishaselberger.com/time-well-spent-course Stay connected!:Visit our website at  ⁠https://www.alexishaselberger.com⁠ Check out the " ⁠Time Well Spent: Time Management for Real People⁠ “ Course ( https://www.alexishaselberger.com/time-well-spent-course )Join the  ⁠Do More, Stress Less Facebook Community⁠  ( https://www.facebook.com/groups/domorestressless )Connect on  ⁠Linkedin⁠  ( https://www.linkedin.com/in/alexis-haselberger/ )Follow us for updates and more content: Youtube  ( https://www.youtube.com/c/DoMoreStressLess ) ⁠Instagram⁠  ( https://www.instagram.com/do.more.stress.less/ ) ⁠TikTok⁠  ( https://www.tiktok.com/@do.more.stress.less) ⁠Facebook⁠  ( https://www.facebook.com/domorestressless )We want your feedback!:If you have constructive feedback, please email us at alexis+podcastfeedback@alexishaselberger.comIf you enjoyed this episode, please leave us a rating and share with a friend!Transcript:Read it  ⁠here⁠ !

In this episode of Transparently Speaking, Joy and Diana explore the challenge for everyone in adopting new names and pronouns.  They share personal stories and reflect on how it feels when someone dismisses or neglects pronouns, how to respond (or not), and how allies can do better. If you're taking something away from our podcast, we'd appreciate it if you'd take a moment to provide us with a review; the more listeners and reviews, the more people we can reach and support. As always, feel free to reach out to us at transparentlyspeakingpodcast@gmail.com.

Hi friends, Happy Tuesday! Meet Dr. Death: The Shocking Story of Harold Shipman. What happens when the doctor you trust with your life… is actually a serial killer? Harold Shipman, also known as Dr. Death, is believed to have killed hundreds of patients under the guise of medical care. This true crime story is one of the most disturbing crime cases in history. In this episode of Murder Mystery & Makeup, we uncover the chilling details—how he gained his victims' trust, manipulated their medical records, and ultimately covered his tracks for decades.

John Maytham speaks to Leigh Meinert, Operations Manager of Dignity South Africa and former Advocacy Manager of the Association of Palliative Care Centres, about what the Advanced Directives Campaign means for patients, doctors, and the future of compassionate healthcare in South Africa. Presenter John Maytham is an actor and author-turned-talk radio veteran and seasoned journalist. His show serves a round-up of local and international news coupled with the latest in business, sport, traffic and weather. The host’s eclectic interests mean the program often surprises the audience with intriguing book reviews and inspiring interviews profiling artists. A daily highlight is Rapid Fire, just after 5:30pm. CapeTalk fans call in, to stump the presenter with their general knowledge questions. Another firm favourite is the humorous Thursday crossing with award-winning journalist Rebecca Davis, called “Plan B”. Thank you for listening to a podcast from Afternoon Drive with John Maytham Listen live on Primedia+ weekdays from 15:00 and 18:00 (SA Time) to Afternoon Drive with John Maytham broadcast on CapeTalk https://buff.ly/NnFM3Nk For more from the show go to https://buff.ly/BSFy4Cn or find all the catch-up podcasts here https://buff.ly/n8nWt4x Subscribe to the CapeTalk Daily and Weekly Newsletters https://buff.ly/sbvVZD5 Follow us on social media: CapeTalk on Facebook: https://www.facebook.com/CapeTalk CapeTalk on TikTok: https://www.tiktok.com/@capetalk CapeTalk on Instagram: https://www.instagram.com/ CapeTalk on X: https://x.com/CapeTalk CapeTalk on YouTube: https://www.youtube.com/@CapeTalk567 See omnystudio.com/listener for privacy information.

Interview by Spitty   / spittywill   We recently sat down with Trinidad Jame$ for an exclusive “Off The Porch” interview! During our conversation he talked about still being relevant & having an impact 13 years in the game, being born in Trinidad, living in Jacksonville & New York before he landed in Atlanta, recalls being robbed while selling clothes, jumping off the porch, opening his own store in Atlanta, launching Reflection Sundaze, working at Ginza Boutique in Atlanta before he was rapping, starting to rap to be able to open his own store, people doubting him when he started doing music, coming up with the treatment for the music video for “All Gold Everything”, not expecting the song to blow up like it did, recalls some of his favorite memories during that era, writing for other artists, being Sexyy Red's creative director, not having any mentors, the disconnect between OG's & the new generation, Mark Ronson & Bruno Mars using his “don't believe me just watch” lyric, winning 2 Grammy's, his experience working with Gucci Mane, reveals biggest life lesson learned, his sneaker show on Complex, wanting to host a radio show, working with Morris Day, designing school uniforms, being respected by Jay-Z & Andre 3000, performing at The Rodeo, collaboration with Saucony, and much more! Learn more about your ad choices. Visit megaphone.fm/adchoices

The Most and Least Respected Occupations

Welcome to Monday's Rugby Daily with David Wilson.Coming up, Leinster face the music as the Lions are welcomed back.Connacht switch focus from the Scarlets to Cardiff.Munster CEO Ian Fitzgerald hits back at transfer dealings.And tributes paid to English World Cup winner Lewis Moody who has been diagnosed with MND.Rugby on Off The Ball with Bank of Ireland | #NeverStopCompeting

In this strategic episode, Justin Goodbread, CEO of Relentless Value Coaching, shares systems for building transferable businesses. If you struggle with low valuation or exit planning, you won't want to miss it.You will discover:- Why systems reduce owner dependency for stage 5 exits- How to optimize eight key areas for higher valuation- What mindset shifts drive decamillionaire successThis episode is ideal for for Founders, Owners, and CEOs in stage 5 of The Founder's Evolution. Not sure which stage you're in? Find out for free in less than 10 minutes at https://www.scalearchitects.com/founders/quizJustin Goodbread has spent the last 30 years building, growing, and selling businesses. His dedication landed him at decamillionaire status before the age of 40. He spends his time now helping business owners discover the proven system to make more money, grow their impact, and get their life back. Respected keynote speaker, bestselling author, and coach of high-performing financial advisors, Justin inspires advisors to rapidly scale their companies to 7, 8, or 9-figure transferable values. Apart from being a successful business coach, Justin is also a YouTube personality, top podcast host, serial entrepreneur, and dynamic business educator.Want to learn more about Justin Goodbread's work at Relentless Value Coaching? Check out his website at https://www.justingoodbread.com/. Listen to his podcast DecMillionaire Decoded at https://podcasts.apple.com/us/podcast/decamillionaire-decoded/id1332958360 and grab a copy of his book on Amazon at https://www.amazon.com/Your-Babys-Ugly-Maximize-Business/dp/1732059934/ref=sr_1_1Mentioned in this episode:Take the Founder's Evolution Quiz TodayIf you're a Founder, business owner, or CEO who feels overworked by the business you lead and underwhelmed by the results, you're doing it wrong. Succeeding as a founder all comes down to doing the right one or two things right now. Take the quiz today at foundersquiz.com, and in just ten questions, you can figure out what stage you are in, so you can focus on what is going to work and say goodbye to everything else.Founder's Quiz

Hey, would Jesus Himself be a respected member of many churches today? Or do many churches “cut Jesus down to size,” limiting what He does in their lives? And what about you? Do you perhaps harbor unbelief about what God is willing or able to do in your life? Join Kevin as we examine look at how even and especially Christians often tend to limit God! // Download this episode's Application & Action questions and PDF transcript at whitestone.org.

Welcome to Ask Paul Tripp, a weekly podcast from Paul Tripp Ministries where pastor and best-selling author Dr. Paul David Tripp answers your questions, connecting the transforming power of Jesus Christ to everyday life.Today's question comes from a counselor who is working with a husband wrestling with this tension: ‘I'm respected and affirmed at work, but at home I feel unseen and disrespected. Which version of me is true?'”If you have a question you'd like to ask Paul, you can email ask@paultripp.com or submit it online at PaulTripp.com/Ask.Awe: Why It Matters for Everything We Think, Say, and DoPaulTripp.com/AweA Balanced Work Life - Grace & KnowledgePaulTripp.com/Articles

Calling all recovering people-pleasers: this one might sting (in the best way).If you've ever shapeshifted to keep the peace, said “yes” just so no one would be mad, or avoided the hard convo to stay “nice”... this episode is the one you didn't know you desperately needed.Ashley's ripping the band-aid off what it actually takes to lead, not just look like a leader on Instagram and spoiler: it's gonna require some people not liking you.Inside this hot-seat solo:- Why being liked is the addiction and leadership is the upgrade- How people-pleasing is a nervous system survival response (not a personality trait)- Ashley's go-to decision filter when fear and approval start getting loud- What happens in your body when you abandon yourself for “peace”- A real-life convo with her husband that will make you rethink your hip pain (yes, really)You don't need to be everyone's favorite to be a powerful leader. You just need to be in right relationship with yourself.Ready to stop playing small and start moving like the coach, creative, or CEO you came here to be? Press play. Let's get you back in your power.JOIN THE QCA PRE-ENROLLMENT SAVINGS LISTASHLEY ON THE WEBASHLEY ON INSTAGRAMDOWNLOAD THE BIG COACH ENERGY TOOLKITJOIN QUANTUM COACH CATALYSTAPPLY TO THE QUANTUM COACHING ACADEMYLISTEN TO ASHLEY'S EXCLUSIVE PODCAST SERIES, BECOME THE BEST COACH VISIT THE BIG COACH ENERGY SHOP

Craig Schmersal has truly done it all. As an NRHA $5 Million Rider, Craig is the only Level 4 Open Champion of all five major reining events: The Run for a Million, NRHA Futurity, NRHA Derby, National Reining Breeders Classic, and the Quarter Horse Congress. He's also taken home top honors overseas, winning the Americana in Augsburg, Germany.Respected as one of the very best in the industry, Craig joins Tom, Gunny, and Joe for a conversation packed with both wisdom and laughter. From the people and experiences that shaped his career, to the importance of quiet time in the bathroom before a run, to unforgettable stories like how a bench caught on fireafter Craig sat on it, and a highway adventure with Brian in their underwear — this episode has it all.You'll hear valuable insights on preparing your horse for the show pen, as well as hilarious behind-the-scenes tales that remind us why Craig is one of the most admired horsemen out there!We had a blast recording this one — thank you, Craig, for joining us!

Please note that the 1st part is in English, and the 2nd part is in Malayalam starting 18:05  mark.  God expects everyone to respect His authority.  One of the most effective ways to show our respect for God is by living in obedience to His commands.  When we follow the word of God, we demonstrate our love for Him and our desire to honor His authority.  In the Bible there are several incidents of people being punished for not following God's commands and not for respecting God.  Sometimes people are punished for not respecting a person whom God loves or to  whom God has given authority.  Also, there are incidents of getting blessed for following God's commands and for respecting those whom God loves. This is practically applicable to our lives also.  My name... Cicilysunny@gmail.com

BBC Studios and iHeartPodcasts announced that they have partnered for the first time on a new original true-crime podcast - Hands Tied.The eight-episode series is presented by the award-winning journalist Maggie Robinson Katz (Scamtown, Mafia Tapes) and co-produced by BBC Studios and iHeartPodcasts. Launching on August 6th, episodes will be released weekly and will be available globally on iHeartRadio and wherever you get your podcasts. In "Hands Tied," listeners will be introduced to Lizz Melgar Rose who went from being interested in true crime to living it. In 2012 relatives found Lizz's mother Sandy Melgar shut in a closet, her hands bound behind her back, and her father Jim Melgar murdered. This awful tragedy was also a mystery and one Lizz was determined to solve using her lifelong interest in true crime as a guide. Podcast host Maggie Robinson Katz delves deep inside the police investigation, the courtroom where the drama unfolded as the jury wrestled with this truly shocking crime, and inside Lizz's own subsequent battle for answers - and for justice. Because there is one thing Lizz is convinced of, the wrong person is in prison for her father's murder. Maggie Robinson Katz said: "Though 'Hands Tied' is an examination into the shocking murder of Jim Melgar, my hope is that it transcends the typical true crime tropes and listeners connect with the human story at its core. The story of a daughter, and her tireless quest for answers and justice. I am grateful to Lizz for trusting us with her story - and her strength to continue her pursuit of justice. I am also grateful to BBC Studios and iHeart for joining forces with me to explore this case." Rich Knight, Director of Audio at BBC Studios, said: "At the heart of this extraordinary series is a violent crime and a search for answers. I'm grateful to our colleagues at iHeart for working with us to realise this story. And of course, I'm grateful to Lizz for letting us into her life. I hope listeners will be as moved by her fortitude as we were." Will Pearson, President of iHeartPodcasts, said: "We are excited to debut 'Hands Tied' with BBC Studios and help amplify the unbelievable details of a case that led to Sandy Melgar's conviction. Listeners everywhere will instantly become invested in Lizz's search for answers and feel her frustration as she comes up against a system she believes has failed her and her family, again and again." Hands Tied is a BBC Studios production which is co-produced and distributed by iHeartPodcasts. The eight-episode series (plus two bonuses) is hosted by Maggie Robinson Katz and was produced by Maggie Latham and Executive Produced by Joe Kent for BBC Studios, and Cristina Everett for iHeartPodcasts. The trailer for the original true-crime podcast is available to listen to now and the series launches on Wednesday, August 6 globally and can be listened to wherever you access your podcasts. Episodes available here: Https://podcasts.apple.com/ie/podcast/hands-tied/id1829911900 Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

Jonny's back from Turkey as is Don from Don's Guns. These boys don't wanna make any money, they just love to make podcasts. 

Acting on a principle that God's house will be respected, Nehemiah threw out the enemy who was living in God's house. We show respect for God's house today by 1) recognizing that what we do for God and the way we do it matters more than just getting a job done, and 2) leaving behind our baggage of how things “ought” to be done in God's house. These ideas will not be tolerated; they will be thrown out. VF-2017 Nehemiah 13:1-9 Watch, Listen and Learn 24x7 at PastorMelissaScott.com Pastor Melissa Scott teaches from Faith Center in Glendale. Call 1-800-338-3030 24x7 to leave a message for Pastor Scott. You may make reservations to attend a live service, leave a prayer request or make a commitment. Pastor Scott appreciates messages and reads them often during live broadcasts. Follow @Pastor_Scott on Twitter and visit her official Facebook page @Pastor.M.Scott. Download Pastor Scott's "Understand the Bible" app for iPhone, iPad and iPod at the Apple App Store and for Android devices in the Google Store. Pastor Scott can also be seen 24x7 on Roku and Amazon Fire on the "Understand the Bible?" channel. ©2025 Pastor Melissa Scott, Ph.D., All Rights Reserved

Respected pollster Celinda Lake did not mince words at our interview at Netroots Nation 2025 as she stated categorically that we are already amid fascism.Subscribe to our Newsletter:https://politicsdoneright.com/newsletterPurchase our Books: As I See It: https://amzn.to/3XpvW5o How To Make AmericaUtopia: https://amzn.to/3VKVFnG It's Worth It: https://amzn.to/3VFByXP Lose Weight And BeFit Now: https://amzn.to/3xiQK3K Tribulations of anAfro-Latino Caribbean man: https://amzn.to/4c09rbE

In this episode I dive into my experience after a women's only temazcal (sweat lodge) experience that awakened something beautiful inside me. We got into maternal and paternal lineage, the female initiation of childbirth, vision quests, the sacred gifts men and women carry, and more.I talk about women's responsibility to pray for men, the double power of singing our prayers, and the art of revealing ourselves. I also explain in more detail the concept of holding space and how the Ancients knew all about what is now referred to as ‘parts' work by psychotherapists.TIMESTAMPS:00:00 - 00:24 Episode Trailer and Intro00:24 - 00:53 Episode Overview00:53 - 02:36 What does it mean to be a woman02:36 - 03:06 I fixed my Blue Yeti Mic03:06 - 06:00 My first sweat lodge experience06:00 - 07:09 A sweat lodge resembles the uterus07:09 - 09:06 Childbirth is a woman's initiation09:06 - 12:09 maternal and paternal lineage12:09 - 13:52 Is it a woman's responsibility to pray for her man?13:52 - 16:24 Does singing your prayers make them twice as strong?16:24 - 17:04 We're so hyper-individualistic in the real world17:04 - 19:08 How to stop being afraid of revealing your true self19:08 - 21:49 Fighting the urge to people-please21:49 - 23:31 the art of revealing23:31 - 26:08 A better way to get your needs mett26:08 - 29:45 How women can hold space for men29:45 - 31:18 The healing power of a woman' intuition?31:18 - 33:17 Men rarely get nonsexual touch33:18 - 33:59 Closing Remarks34:00 - 34:39 Outro_______________________If you found some value today then help me spread the word! Share this episode with a friend or leave a review. This helps the podcast grow.You can also watch the episodes on youtube hereFollow me on Instagram @anyashakhYou can book a discovery call at anyashakh.com

Welcome to The Game Changers – the podcast that celebrates extraordinary women in sport. In Series 20, we're shining a light on the courageous, pioneering and fiercely passionate women who are re-defining the future of sport.You'll hear from Diane Edwards, the Commonwealth 800m champion who overcame a devastating injustice and fought a landmark legal battle to clear her name before becoming a powerful advocate for inclusion and opportunity in sport.Pioneering skateboarder, Lucy Adams, shares how she carved her path in a male-dominated sport – breaking boundaries, staying true to herself and inspiring young people, from all backgrounds, to step onto a board.Respected both as a former player and now as a top-flight coach, Carla Ward reveals what it really takes to lead in the high-pressure world of women's football, while ultrarunner and campaigner Sophie Power opens up about motherhood and rewriting the rules for women in endurance sport.We talk to Scottish rugby star Rhona Lloyd about body image and using her platform to challenge attitudes in society, and England netball icon Eboni Usoro-Brown about the challenges of motherhood in elite sport and her evolving mission to drive change on and off the court.We hear from Sally Horrox, now shaping the global women's game at World Rugby, as she shares insights from a groundbreaking career that's spanned the commercial rise of netball and women's football – including the creation of two Super Leagues.And Sammi Kinghorn, Paralympic gold medallist and world-record holder on her extraordinary story of grit, growth and overcoming the unimaginable.  Join us as we uncover the stories behind the headlines and explore what it means to drive real change in sport.New episodes in this series will be released throughout August on Mondays and Wednesdays each week, so please follow or subscribe now and you'll be the first to hear from these extraordinary trailblazers.The Game Changers is free to listen to on all podcast platforms or from our website @fearless.women.co.uk. The website is also where you'll find details of the Women's Sport Collective, our free, inclusive community for all women working in sport.Thank you to Sport England, who support The Game Changers podcast (and the Women's Sport Collective) through with a National Lottery Award.The Game Changers – Series 20.  Inspiring conversations with fearless women in sport.Thank you to Sport England who support The Game Changers Podcast with a National Lottery award.Find out more about The Game Changers podcast here: https://www.fearlesswomen.co.uk/thegamechangersHosted by Sue AnstissProduced by Sam Walker, What Goes On MediaA Fearless Women production

Author Brad Englert shares how to build lasting influence through trust, visibility, and real relationships. Learn how to strengthen your internal and external networks and why influence is a must-have leadership skill—not just a nice-to-have. You'll Learn:Why influence is a hard skill every modern leader needsHow to strengthen relationships inside and outside your organizationPractical habits that help you build trust and credibility for the long haulShow NotesWeekly Newsletter Sign-Up: http://bit.ly/37hqtQW The Successful Networker: https://careercontessa.teachable.com/p/the-successful-networkerGuest ResourcesSpheres of Influence: https://bradenglert.com/spheres-of-influence/ Career Contessa ResourcesBook 1:1 career coaching session: https://www.careercontessa.com/hire-a-mentor/ Take an online course: https://www.careercontessa.com/education/ Get your personalized salary report: https://www.careercontessa.com/the-salary-project/ SponsorsGo to Superpower.com and use code CONTESSA to get $50 Off your annual Superpower subscription. Live up to your 100-Year potential. #superpowerpodStop putting off those doctors appointments and go to zocdoc.com/contessa to find and instantly book a top-rated doctor today. Sign up for your one-dollar-per-month trial period at shopify.com/careercontessa.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Jesus tells the church of Sardis that they were spiritually dead, even though they had a good reputation with others, and that they needed to change! Those who are genuinely living for Christ are totally accepted by him!

Akhtar Nawab is today's guest, and we dig into his influential career in New York City dining. He's the chef-owner of the terrific restaurants Wayward Fare and Alta Calidad in Prospect Heights, Brooklyn, and he previously ran the kitchen at La Esquina. Akhtar moved to New York in 1998 and worked under chef Tom Colicchio at Gramercy Tavern for several years. He was part of the opening staff of Craft, and in 2002 he helped open Craftbar, later serving as executive chef. He's mentored many stars in the industry, including David Chang, who credits him as a major influence. While he'd never say it himself, those who follow NYC restaurants understand that Akhtar is a giant in the industry. Humble and hardworking, it was a real pleasure to have him in the studio to talk about his amazing work.Also on the show we have a great conversation with Javier Cabral. He's the editor in chief of L.A. Taco. We discuss the publication's important work covering Los Angeles ICE activity, while offering readers a needed resource to stay safe. We also talk about how he balances breaking news coverage with deep dives into LA taco culture. It's a must read, and you can subscribe today.Read: What To Do If ICE Stops You In a Car, On a Bus, Or In a TrainListen: Tom Colicchio on the Birth of Gramercy Tavern, Top Chef Favorites, Running For CongressSubscribe: Apple Podcasts, Spotify, YouTube See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Respected guitarist Gary Pihl joins Metal Mayhem ROC to reflect on his storied career with Sammy Hagar and Boston while spotlighting the new Alliance album Before Our Eyes. He shares rare, behind-the-scenes stories from the early days of the Sammy Hagar solo band—both in the studio and on tour—including the making of the iconic “I Can't Drive 55” video, as well as insights into the recording of original Night Ranger demos. Gary also opens up about his significant years with Boston, discussing the challenges and rewards of joining a legendary band and how he helped shape their signature sound during arena tours. Diving into the songwriting and sound behind Alliance's latest release, he reveals how his classic rock roots continue to inspire fresh music for today's generation. And in a fascinating twist, Gary even shares that he took guitar lessons from Jerry Garcia back in the 60s! 00:00: Gary Pihl Introduction 01:34: Guitar Beginnings & Lessons from Jerry Garcia 03:50: Joining Sammy Hagar and Early Boston Connection 08:22: Songwriting and Dual Guitar Solos with Sammy 09:43: Making the “I Can't Drive 55” Video 11:45: Touring and Life on the Road with Sammy 15:44: Night Ranger Demo Sessions 18:13: Joining Boston for “Third Stage” Comeback 22:03: Boston's Revolutionary Gear and Live Setup 26:34: Future of Boston and 50th Anniversary Hopes 27:17: Alliance Formation with Robert Berry and David Lauser 32:46: Inside the New Alliance Album “Before Our Eyes” 42:18: Magic of Writing and Recording Together in the Studio Metal Mayhem ROC: https://metalmayhemroc.com/ Alliance Official Website https://alliance.band Learn more about your ad choices. Visit megaphone.fm/adchoices

The Killing of Tupac ShakurWho did it and why? Poet, movie star, revolutionary -- Tupac Amaru Shakur was the most popular rapper in the world. No one symbolized the violence at the heart of gangsta rap more than Tupac, and he ultimately fell victim to that violence, gunned down in a drive-by shooting in Las Vegas at the age of 25. This raw, no-holds-barred account discloses new information, including exclusive photo evidence, about the unsolved murder of Tupac: the failed investigation, the rap wars, the killing of Biggie Smalls, the Bloods-Crips connection, and the many possible motives leading to the murder that rocked the music world.The Murder of Biggie SmallsThe Notorious B.I.G. exploded onto the hip-hop scene with his platinum-selling album Ready to Die in 1995. The life of B.I.G. a.k.a. Biggie Smalls--born Christopher Wallace--had come a long way from the years spent in his Bed-Sty neighborhood in Brooklyn, New York, where he dropped out of school at age seventeen to pursue the culture of the street and master his rapping style. It was on the street that Smalls began emceeing his original raps and was discovered by Sean "Puffy" Combs, who recognized Smalls's potential and took his gangsta image to the next level.Within a few years he moved from the street to two successful rap albums, several million dollars in earnings, a Billboard Music Award in 1996 for Rapper of the Year, a marriage to R&B singer Faith Evans, a very public affair with L'il Kim, and hanging with Tupac Shakur, Marion "Surge" Knight, Puff Daddy, and Mary J. Blige. Despite becoming king of his world, Smalls didn't leave the life he rapped about behind. During his two-year rise up the charts he had several run-ins with the law, on charges ranging from assault to drugs and weapons possession. In 1994, both he and Combs were accused publicly by Suge Knight and Tupac's camp of setting up the shooting of Tupac Shakur, a charge they both vehemently denied.The high life was brought to an end on March 9, 1997, after Biggie attended the Soul Train Awards in Los Angeles. Smalls was gunned down in his car much like friend-turned-enemy Shakur had been six months earlier.Three years after Smalls's death, the police still have not made an arrest, and despite their early confidence that the case would be solved quickly, his murder continues to raise more questions than it answers.Respected journalist Cathy Scott has traveled from Las Vegas to New York and Los Angeles, interviewing those involved with Smalls and reviewing court documents and police reports surrounding the case in order to tell the real story of the murder of Biggie Smalls.The Murder of Biggie Smalls uncovers what those around Smalls and Shakur don't want to be revealed, including:The possibility that Smalls may have owed a gang money and was killed to collect on the debt.That Puffy Combs, Smalls's record producer, may have hired Crips members as bodyguards, who in turn killed Smalls over a financial beef.That Combs may have been the intended victim instead of Smalls.The investigation into Suge Knight, Tupac Shakur's record producer, and the suspicion that he may have masterminded Smalls's murder from his California prison cell.Smalls's mother's belief that the federal government was involved in the mruder and that police have conspired not to solve the crime.Why many surrounding Smalls feel the police have neglected the case to the point of letting the murderer get away--while being unwilling to offer any information themselves or assist the police in their efforts.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-opperman-report--1198501/support.

After all the deep truths covered in 1 John, we see an added “P.S.” in John’s following epistles. Pastor Greg Laurie shares they’re filled with love, warning, and encouragement. Notes: Focus verse - 2 John 1 2nd and 3rd John are filled with love, warning and encouragement. We can find comfort in God’s Word—His ultimate love letter to us. 1st John was written to give assurance to believers.(1 John 5:13) The Bible promises, “He who began a good work in you will complete it.”(Philippians 1:6) Salvation is God’s work from beginning to end. It’s not based on how you feel, it’s based on what Jesus did. John was refuting something called Gnosticism. Gnostics did not believe that God came into this world and walked among us. “If a person claiming to be a prophet acknowledges that Jesus Christ came in a real body, that person has the Spirit of God.”(1 John 4:2) To be a Christian, you must believe that Jesus was born of a virgin and was God among us; that He was fully God and fully man and He died on the cross for our sins, and He bodily rose three days later and will come again. 1 John can be divided into three sections:1. God is Light (1 John 1:1–2:2)2. God is Love (1 John 2:3–4:21)3. God is Life (1 John 5) Read: 2 John 1:1–3 1. God wants us to walk in truth and love. Truth without love is harsh. Love without truth is hollow. Truth anchors us while love moves us.Truth gives us the message; love gives us the method. Love is obeying the Lord. 2. When we walk in truth and love the devil will be opposing us.(2 John 1:7–8) John has warned us about both Antichrist and Antichrists. 3. God cares about every area of your life.(3 John 1:1–2) “Beloved, I pray that you may prosper in all things and be in health, just as your soul prospers.”(3 John 1:2) God does want us to prosper, but what is Biblical prosperity?In short, it is knowing and walking with God and bringing forth spiritual fruit. God can and will bless you with wealth, but with that wealth comes responsibility.(1 Timothy 6:17–18) If you are blessed financially that’s not a sin, it’s a stewardship. “Beloved, I pray that you may prosper in all things and be in health, just as your soul prospers.”(3 John 1:2) God does not heal everyone, but He does still heal today. 4. Coming to Christ is life-changing; continuing with Christ is life-sustaining.(3 John 1:3–4) “I have no greater joy than to hear that my children walk in truth.”(3 John 1:4) “A good character is the best tombstone. Those who love you and were helped by you will remember you, so carve your name on hearts, not marble.” —C.H. Spurgeon 5. God’s people should underwrite God’s work.(3 John 1:5–8) It pleases God when we support God’s Word financially.(3 John 1:6) We should not have a discomfort talking or hearing about giving.The Bible speaks more about giving than prayer or faith. There are over 2,000 verses on the topic of money, possessions, and giving. Giving is not just about finances, it’s a test of trust and obedience to God. We share in the reward when we invest our money. 6. There are real and fake believers in the church.(3 John 1:9–11) Ultimately, it is God who will sort out the real and the counterfeit. 7. Be a Demetrius not a Diotrephes.(3 John 1:9, 12) Demetrius v. DiotrephesHad a good testimony. Had a poor testimony.Respected by all. Rebuked by John for being divisive and proud.Welcoming and faithful. Kicked people out of the church and drove them away. 1. Walk in truth and love.2. Support God’s people and God’s work.3. Be a bridge-builder, not a bridge-burner.4. Leave a godly legacy.5. Don’t be a Diotrephes, be a Demetrius. Learn more about this year's Harvest Crusade! --- Learn more about Greg Laurie and Harvest Ministries at harvest.org. This podcast is supported by the generosity of our Harvest Partners.Support the show: https://harvest.org/supportSee omnystudio.com/listener for privacy information.

After all the deep truths covered in 1 John, we see an added “P.S.” in John’s following epistles. Pastor Greg Laurie shares they’re filled with love, warning, and encouragement. Notes: Focus verse - 2 John 1 2nd and 3rd John are filled with love, warning and encouragement. We can find comfort in God’s Word—His ultimate love letter to us. 1st John was written to give assurance to believers.(1 John 5:13) The Bible promises, “He who began a good work in you will complete it.”(Philippians 1:6) Salvation is God’s work from beginning to end. It’s not based on how you feel, it’s based on what Jesus did. John was refuting something called Gnosticism. Gnostics did not believe that God came into this world and walked among us. “If a person claiming to be a prophet acknowledges that Jesus Christ came in a real body, that person has the Spirit of God.”(1 John 4:2) To be a Christian, you must believe that Jesus was born of a virgin and was God among us; that He was fully God and fully man and He died on the cross for our sins, and He bodily rose three days later and will come again. 1 John can be divided into three sections:1. God is Light (1 John 1:1–2:2)2. God is Love (1 John 2:3–4:21)3. God is Life (1 John 5) Read: 2 John 1:1–3 1. God wants us to walk in truth and love. Truth without love is harsh. Love without truth is hollow. Truth anchors us while love moves us.Truth gives us the message; love gives us the method. Love is obeying the Lord. 2. When we walk in truth and love the devil will be opposing us.(2 John 1:7–8) John has warned us about both Antichrist and Antichrists. 3. God cares about every area of your life.(3 John 1:1–2) “Beloved, I pray that you may prosper in all things and be in health, just as your soul prospers.”(3 John 1:2) God does want us to prosper, but what is Biblical prosperity?In short, it is knowing and walking with God and bringing forth spiritual fruit. God can and will bless you with wealth, but with that wealth comes responsibility.(1 Timothy 6:17–18) If you are blessed financially that’s not a sin, it’s a stewardship. “Beloved, I pray that you may prosper in all things and be in health, just as your soul prospers.”(3 John 1:2) God does not heal everyone, but He does still heal today. 4. Coming to Christ is life-changing; continuing with Christ is life-sustaining.(3 John 1:3–4) “I have no greater joy than to hear that my children walk in truth.”(3 John 1:4) “A good character is the best tombstone. Those who love you and were helped by you will remember you, so carve your name on hearts, not marble.” —C.H. Spurgeon 5. God’s people should underwrite God’s work.(3 John 1:5–8) It pleases God when we support God’s Word financially.(3 John 1:6) We should not have a discomfort talking or hearing about giving.The Bible speaks more about giving than prayer or faith. There are over 2,000 verses on the topic of money, possessions, and giving. Giving is not just about finances, it’s a test of trust and obedience to God. We share in the reward when we invest our money. 6. There are real and fake believers in the church.(3 John 1:9–11) Ultimately, it is God who will sort out the real and the counterfeit. 7. Be a Demetrius not a Diotrephes.(3 John 1:9, 12) Demetrius v. DiotrephesHad a good testimony. Had a poor testimony.Respected by all. Rebuked by John for being divisive and proud.Welcoming and faithful. Kicked people out of the church and drove them away. 1. Walk in truth and love.2. Support God’s people and God’s work.3. Be a bridge-builder, not a bridge-burner.4. Leave a godly legacy.5. Don’t be a Diotrephes, be a Demetrius. Learn more about this year's Harvest Crusade! --- Learn more about Greg Laurie and Harvest Ministries at harvest.org. This podcast is supported by the generosity of our Harvest Partners.Support the show: https://harvest.org/supportSee omnystudio.com/listener for privacy information.

Struggling to get noticed on LinkedIn despite sharing valuable content? Wondering how to use video to establish authority and become the go-to expert in your field? To discover how to craft a powerful LinkedIn video strategy that builds credibility, fosters genuine connections, and positions you as a respected leader in your industry without feeling salesy or forced, I interview Louise Brogan.Guest: Louise Brogan | Show Notes: socialmediaexaminer.com/671Review our show on Apple Podcasts.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.