Podcasts about salesman

What makes a character so compelling that readers will forgive almost anything about the plot? How do you move beyond vague flaws and generic descriptions to create people who feel pulled from real life? In this solo episode, I share 15 actionable tips for writing deep characters, curated from past interviews on the podcast. In the intro, thoughts from London Book Fair [Instagram reel @jfpennauthor; Publishing Perspectives; Audible; Spotify]; Insights from a 7-figure author business [BookBub]. This show is supported by my Patrons. Join my Community and get articles, discounts, and extra audio and video tutorials on writing craft, author business, and AI tools, at Patreon.com/thecreativepenn This episode has been created from previous episodes of The Creative Penn Podcast, curated by Joanna Penn, as well as chapters from How to Write a Novel: From Idea to Book. Links to the individual episodes are included in the transcript below. In this episode: Master the ‘Believe, Care, Invest' trifecta, how to hook readers on the very first page Define the Dramatic Question: Who is your character when the chips are down? Absolute specificity. Why “she's controlling” isn't good enough Understand the Heroine's Journey, strength through connection, not solo action Use ‘Metaphor Families' to anchor dialogue and give every character a distinctive voice Find the Diagnostic Detail, the moments that prove a character is real Writing pain onto the page without writing memoir Write diverse characters as real people, not stereotypes or plot devices Give your protagonist a morally neutral ‘hero' status. Compelling beats likeable. Build vibrant side characters for series longevity and spin-off potential Use voice as a rhythmic tool Link character and plot until they're inseparable Why discovery writers can write out of order and still build deep character Find the sensory details that make characters live and breathe More help with how to write fiction here, or in my book, How to Write a Novel. Writing Characters: 15 Tips for Writing Deep Character in Your Fiction In today's episode, I'm sharing fifteen tips for writing deep characters, synthesised from some of the most insightful interviews on The Creative Penn Podcast over the past few years, combined with what I've learned across more than forty books of my own. I'll be referencing episodes with Matt Bird, Will Storr, Gail Carriger, Barbara Nickless, and Sarah Elisabeth Sawyer. I'll also draw on my own book, How to Write a Novel, which covers these fundamentals in detail. Whether you're writing your first novel or your fiftieth, whether you're a plotter or a discovery writer like me, these tips will help you create characters that readers believe in, care about, and invest in—and keep coming back for more. Let's get into it. 1. Master the ‘Believe, Care, Invest' Trifecta When I spoke with Matt Bird on episode 624, he laid out the three things you need to achieve on the very first page of your book or in the first ten minutes of a film. He calls it “Believe, Care, and Invest.” First, the reader must believe the character is a real person, somehow proving they are not a cardboard imitation of a human being, not just a generic type walking through a generic plot. Second, the reader must care about the character's circumstances. And third, the reader must invest in the character's ability to solve the story's central problem. Matt used The Hunger Games as his primary example, and it's brilliant. On the very first page, we believe Katniss's voice. Suzanne Collins writes in first person with a staccato rhythm—lots of periods, short declarative sentences—that immediately grounds us in a survivalist mentality. We care because Katniss is starving. She's protecting her little sister. And we invest because she is out there bow hunting, which Matt pointed out is one of the most badass things a character can do. She even kills a lynx two pages in and sells the pelt. We invest in her resourcefulness and grit before the plot has even begun. Matt was very clear that this has nothing to do with the character being “likable.” He said his subtitle, Writing a Hero Anyone Will Love, doesn't mean the character has to be a good person. He described “hero” as both gender-neutral and morally neutral. A hero can be totally evil or totally good. What matters is that we believe, care, and invest. He demonstrated this beautifully by breaking down the first ten minutes of WeCrashed, where the characters of Adam and Rebekah Neumann are absolutely not likable, but we are completely hooked. Adam steals his neighbour's Chinese food through a carefully orchestrated con involving an imaginary beer. It's not admirable behaviour, but the tradecraft involved, as Matt put it—using a term from spy movies—makes us invest in him. We see a character trying to solve the big problem of his life, which is that he's poor and wants to be rich, and we want to see if he can pull it off. Actionable step: Go to the first page of your current work in progress. Does it achieve all three? Does the reader believe this is a real person with a distinctive voice? Do they care about the character's circumstances? And do they invest in the character's ability to handle what's coming? If even one of those three is missing, that's your revision priority. 2. Define the Dramatic Question: Who Are They Really? Will Storr, author of The Science of Storytelling, came on episode 490 and gave one of the most powerful frameworks I've ever heard for character-driven fiction. He explained that the human brain evolved language primarily to swap social information—in other words, to gossip. We are wired to monitor other people, to ask the question: who is this person when the chips are down? That's what Will calls the Dramatic Question, and it's what he believes lies at the heart of all compelling storytelling. It's not a question about plot. It's a question about the character's soul. And every scene in your novel should force the character to answer it. His example of Lawrence of Arabia is unforgettable. The Dramatic Question for the entire film is: who are you, Lawrence? Are you ordinary or are you extraordinary? At the beginning, Lawrence is a cocky, rebellious young soldier who believes his rebelliousness makes him superior. Every iconic scene in that three-hour film tests that belief. Sometimes Lawrence acts as though he truly is extraordinary—leading the Arabs into battle, being hailed as a god—and sometimes the world strips him bare and he sees himself as ordinary. Because it's a tragedy, he never overcomes his flaw. He doubles down on his belief that he's extraordinary until he becomes monstrous, culminating in that iconic scene where he lifts a bloody dagger and sees his own reflection with horror. Will also used Jaws to demonstrate how this works in a pure action thriller. Brody's dramatic question is simple: are you going to be old Brody who is terrified of the water, or new Brody who can overcome that fear? Every scene where the shark appears is really asking that question. And the last moment of the film isn't the shark blowing up. It's Brody swimming back through the water, saying he used to be scared of the water and he can't imagine why. Actionable step: Write down the Dramatic Question for your protagonist in a single sentence. Is it “Are you ordinary or extraordinary?” or “Are you brave enough to love again?” or “Will you sacrifice your principles for survival?” If you can't answer this with specificity, your character might still be a sketch rather than a person. 3. Get rid of Vague Flaws, and use Absolute Specificity This was one of Will Storr's most important points. He said that vague thinking about characters is really the enemy. When he teaches workshops and asks writers to describe their character's flaw, most of them say something like “they're very controlling.” And Will's response is: that's not good enough. Everyone is controlling. How are they controlling? What's the specific mechanism? He gave the example of a profile he read of Theresa May during the UK's Brexit chaos. Someone who knew her said that Theresa May's problem was that she always thinks she's the only adult in every room she goes into. Will said that stopped him in his tracks because it's so precise. If you define a character with that level of specificity, you can take them and put them in any genre, any situation—a spaceship, a Victorian drawing room, a school playground—and you will know exactly how they're going to behave. The same applies to Arthur Miller's Willy Loman in Death of a Salesman, as Will described it: a man who believes absolutely in capitalistic success and the idea that when you die, you're going to be weighed on a scale, just as God weighs you for sin, but now you're weighed for success. That's not a vague flaw. That's a worldview you can drop into any story and watch it combust. Will made another counterintuitive point that I found really valuable: writers often think that piling on multiple traits will create a complex character, but the opposite is true. Starting with one highly specific flaw and running it through the demands of a relentless plot is what generates complexity. You end up with a far more nuanced, original character than if you'd started with a laundry list of vague attributes. Actionable step: Take your protagonist's flaw and pressure-test it. Is it specific enough that you could place this character in any situation and predict their behaviour? If you're stuck at “she's stubborn” or “he's insecure,” keep pushing. What kind of stubborn? What kind of insecure? Find the diagnostic sentence—the Theresa May level of precision. 4. Understand the Heroine's Journey: Strength Through Connection Gail Carriger came on episode 550 to discuss her nonfiction book, The Heroine's Journey, and it completely reframed how I think about some of my own fiction. Gail explained that the core difference between the Hero's Journey and the Heroine's Journey comes down to how strength and victory are defined. The Hero's Journey is about strength through solo action. The hero must be continually isolated to get stronger. He goes out of civilisation, faces strife alone, and achieves victory through physical prowess and self-actualisation. The Heroine's Journey is the opposite. The heroine achieves her goals by activating a network. She's a delegator, a general. She identifies where she can't do something alone, finds the people who can help, and portions out the work for mutual gain. Gail put it simply: the heroine is very good at asking for help, which our culture tends to devalue but which is actually a powerful form of strength. Crucially, Gail stressed that gender is irrelevant to which journey you're writing. Her go-to examples are striking: the recent Wonder Woman film is practically a beat-for-beat hero's journey—Gilgamesh on screen, as Gail described it. Meanwhile, Harry Potter, both the first book and the series as a whole, is a classic heroine's journey. Harry's power comes from his network—Dumbledore's Army, the Order of the Phoenix, his friendships with Ron and Hermione. He doesn't defeat Voldemort alone. He defeats Voldemort because of love and connection. This distinction has real practical consequences for writers. If you're writing a hero's journey and you hit writer's block, Gail said, the solution is usually to isolate your hero further and pile on more strife. But if you're writing a heroine's journey, the solution is probably to throw a new character into the scene—someone who has advice to offer or a skill the heroine lacks. The actual solutions to writer's block are different depending on which narrative you're writing. As I reflected on my own work, I realised that my ARKANE thriller protagonist, Morgan Sierra, follows a hero's journey—she's a solo operative, a lone wolf like Jack Reacher or James Bond. But my Mapwalker fantasy series follows a heroine's journey, with Sienna and her group of friends working together. I hadn't consciously chosen those paths; the stories led me there. But understanding the framework helps me write more intentionally now. Actionable step: Identify which journey your protagonist is on. Does your character gain strength by being alone (hero) or by building connections (heroine)? This will inform every plot decision you make, from how they face obstacles to how your story ends. 5. Use ‘Metaphor Families' to Anchor Dialogue and Voice One of the most practical techniques Matt Bird shared on episode 624 is the idea of assigning each character a “metaphor family”—a specific well of language that they draw from. This gives each character a distinctive voice that goes beyond accent or dialect. Matt explained how in The Wire, one of the most beloved TV shows of all time, every character has a different metaphor family. What struck him was that Omar, this iconic character, never utters a single curse word in the entire series. His metaphor family is pirate. He talks about parlays, uses language that feels like it belongs in Pirates of the Caribbean, and it creates this incredible ironic counterpoint against his urban setting. It tells us immediately that this is a character who sees himself in a tradition of people that doesn't match his immediate surroundings. Matt also referenced the UK version of The Office, where Gareth works at a paper company but aspires to the military. So all of his language is drawn from a military metaphor family. He doesn't talk about filing and photocopying; he talks about tactics and discipline and being on the front line. This tells us that the character has a life and dreams beyond the immediate scene—and it's the gap between aspiration and reality that makes him both funny and believable. He pointed out that a metaphor family sometimes comes from a character's background, but it's often more interesting when it comes from their aspirations. What does your character want to be? What world do they fantasise about inhabiting? That's where their language should come from. In Star Wars, Obi-Wan Kenobi is a spiritual hermit, but his metaphor family is military. He uses the language of generals and commanders, and that ironic counterpoint is part of what makes him feel so rich. Actionable step: Assign each of your main characters a metaphor family. It could be based on their job, their background, or—more interestingly—their secret aspirations. Then go through your dialogue and make sure each character is consistently drawing from that well of language. If two characters sound the same when you strip away the dialogue tags, this is the fix. 6. Find the Diagnostic Detail: The Diagonal Toast Avoid clichéd character tags—the random scar, the eye patch, the mysterious limp—unless they serve a deep narrative purpose. Matt Bird on episode 624 was very funny about this: he pointed out that Nick Fury, Odin, and eventually Thor all have eye patches in the Marvel Cinematic Universe. Eye patches are done, he said. You cannot do eye patches anymore. Instead, look for what I'm calling the “diagonal toast” detail, after a scene Matt described from Captain Marvel. In the film, Captain Marvel is trying to determine whether Nick Fury is who he says he is. She asks him to prove he isn't a shapeshifting alien. Fury shares biographical details—his history, his mother—but then she pushes further and says, name one more thing you couldn't possibly have made up about yourself. And Fury says: if toast is cut diagonally, I can't eat it. Matt said that detail is gold for a writer because it feels pulled from a real life. You can pull it from your own life and gift it to your characters, and the reader can tell it's not manufactured. He gave another example from The Sopranos: Tony Soprano's mother won't answer the phone after dark. The show's creator, David Chase, confirmed on the DVD commentary that this came from his own mother, who genuinely would not answer the phone after dark and couldn't explain why. Matt's practical advice was to keep a journal. Write down the strange, specific things that people do or say. Mine your own life for those hyper-specific details. You just need one per book. In my own writing, I've used this approach. In my ARKANE thrillers, my character Morgan Sierra has always been Angelina Jolie in my mind—specifically Jolie in Lara Croft or Mr and Mrs Smith. And Blake Daniel in my crime thriller series was based on Jesse Williams from Grey's Anatomy. I paste pictures of actors into my Scrivener projects. It helps with visuals, but also with the sense of the character, their energy and physicality. But visual details only take you so far. It's the behavioural quirks—the diagonal toast moments—that make a character feel genuinely alive. That said, physical character tags can work brilliantly when they serve the story. As I discuss in How to Write a Novel, Robert Galbraith's Cormoran Strike is an amputee, and his pain and the physical challenges of his prosthesis are a key part of every story—it's not a cosmetic detail, it's woven into the action and the character's psychology. My character Blake Daniel always wears gloves to cover the scars on his hands, which provides an angle into his wounded past as well as a visual cue for the reader. And of course, Harry Potter's lightning-shaped scar isn't just a mark—it's a direct connection to his nemesis and the mythology of the entire series. The rule of thumb is: if the tag tells us something about the character's interior life or connects to the plot, it's earning its place. If it's just there to make the character visually distinctive, it's probably a crutch. Game of Thrones takes character tags further with the family houses, each with their own mottos and sigils. The Starks say “Winter is coming” and their sigil is a dire wolf. Those aren't just labels—they're worldview made visible. Actionable step: Start a “diagonal toast” notebook. Every time you notice something strange and specific about someone's behaviour—something that feels too real to be made up—write it down. Then gift it to a character who needs more texture. 7. Displace Your Own Trauma into the Work Barbara Nickless shared something deeply personal on episode 732 that fundamentally changed how I think about putting pain onto the page. While starting At First Light, the first book in her Dr. Evan Wilding series, she lost her son to epilepsy—something called SUDEP, Sudden Unexplained Death in Epilepsy. One day he was there, and the next day he was gone. Barbara said that writing helped her cope with the trauma, that doing a deep dive into Old English literature and the Viking Age for the book's research became a lifeline. But here's what's important: she didn't give Dr. Evan Wilding her exact trauma. Evan Wilding is four feet five inches, and Barbara described how he has to walk through a world that won't adjust to him. That's its own form of learning to cope when circumstances are beyond your control. She displaced her genuine grief into the character's different but parallel struggle. When I asked her about the difference between writing for therapy and writing for an audience, she drew on her experience teaching creative writing to veterans through a collaboration between the US Department of Defense and the National Endowment for the Arts. She said she's found that she can pour her heartache into her characters and process it through them, even when writing professionally, and that the genuine emotion is what touches readers. We've all been through our own losses and griefs, so seeing how a character copes can be deeply meaningful. I've always found that putting my own pain onto the page is the most direct way to connect with a reader's soul. My character Morgan Sierra's musings on religion and the supernatural are often my own. Her restlessness, her fascination with the darker edges of faith—those come from me. But her Krav Maga fighting skills and her ability to kill the bad guys are definitely her own. That gap between what's mine and what's hers is where the fiction lives. Barbara also said something on that episode that I wrote down and stuck on my wall. She said the act of producing itself is a balm to the soul. I've been thinking about that ever since. On my own wall, I have “Measure your life by what you create.” Different words, same truth. Actionable step: If you're carrying something heavy—grief, anger, fear, regret—consider how you might displace it into a character's different but emotionally parallel struggle. Don't copy your exact situation; transform it. The emotion will be genuine, and the reader will feel it. 8. Write Diverse Characters as Real People When I spoke with Sarah Elisabeth Sawyer on episode 673—Sarah is Choctaw and a historical fiction author honoured by the Smithsonian's National Museum of the American Indian—she offered a perspective that every fiction writer needs to hear. The key message was to move away from stereotypes. Don't write your American Indian character as the “Wise Guide” who exists solely to dispense mystic wisdom to the white protagonist. Don't limit diverse characters to historical settings, as though they only exist in the past. Place them in normal, contemporary roles. Your spaceship captain, your forensic scientist, your small-town baker—any of them can be American Indian, or Nigerian, or Japanese, and their heritage should be a lived-in part of their identity, not the sole reason they exist in the story. I write international thrillers and dark fantasy, and my fiction is populated with characters from all over the world. I have a multi-cultural family and I've lived in many places and travelled widely, so I've met, worked with, and had relationships with people from different cultures. I find story ideas through travel, and if I set my books in a certain place, then the story is naturally populated with the people who live there. As I discuss in my book, How to Write a Novel, the world is a diverse place, so your fiction needs to be populated with all kinds of people. If I only populated my fiction with characters like me, they would be boring novels. There are many dimensions of difference—race, nationality, sex, age, body type, ability, religion, gender, sexual orientation, socio-economic status, class, culture, education level—and even then, don't assume that similar types of people think the same way. Some authors worry they will make mistakes. We live in a time of outrage, and some authors have been criticised for writing outside their own experience. So is it too dangerous to try? Of course not. The media amplifies outliers, and most authors include diverse characters in every book without causing offence because they work hard to get it right. It's about awareness, research, and intent. Actionable step: Audit the cast of your current work in progress. Have you written a mono-cultural perspective for all of them? If so, consider who could bring a different background, perspective, or set of cultural specifics to the story. Not as a token addition, but as a real person with a real life. 9. Respect Tribal and Cultural Specificity Sarah Elisabeth Sawyer on episode 673 was emphatic about one thing: never treat diverse groups as monolithic. If you're writing a Native American character, you must research the specific nation. Choctaw is not Navajo, just as British is not French. Sarah described the distinct cultural markers of the Choctaw people—the diamond pattern you'll see on traditional shirts and dresses, which represents the diamondback rattlesnake. They have distinct dances and songs. She said that if she saw someone in traditional dress at a distance, she would know whether they were Choctaw based on what they were wearing. She encouraged writers who want to write specifically about a nation to get to know those people. Go to events, go to a powwow, learn about the individual culture. She noted that a big misconception is that American Indians exist only in the past—she stressed that they are still here, still living their cultures, and fiction should reflect that present reality. I took a similar approach when writing Destroyer of Worlds, which is set mostly in India. I read books about Hindu myth, watched documentaries about the sadhus, and had one of my Indian readers from Mumbai check my cultural references. For Risen Gods, set in New Zealand with a young Maori protagonist, I studied books about Maori mythology and fiction by Maori authors, and had a male Maori reader check for cultural issues. Research is simply an act of empathy. The practical takeaway is this: if you're going to include a character from a specific cultural background, do the work. Use specific cultural details rather than generic signifiers. Sarah talked about how even she fell into stereotypes when she was first writing, until her mother pointed them out. If someone from within a culture can fall into those traps, the rest of us certainly can. Do the research, try your best, ask for help, and apologise if you need to. Actionable step: If you're writing a character from a specific culture, identify three to five sensory or behavioural details that are particular to that culture—not the generic version, but the real, researched, lived-in version. Consider hiring a sensitivity reader from that community to check your work. 10. Give Your Protagonist a Morally Neutral ‘Hero' Status Matt Bird was clear about this on episode 624: the word “hero” simply means the protagonist, the person we follow through the story. It's a functional role, not a moral label. We don't have to like them. We don't even have to root for their goals in a moral sense. We just have to find them compelling enough to invest our attention in their problem-solving. Think of Succession, where every member of the Roy family is varying degrees of awful, and yet the show was utterly compelling. Or WeCrashed, where Adam Neumann is a narcissistic con artist, but we can't look away because he's trying to solve the enormous problem of building an empire from nothing, and the tradecraft he employs is fascinating. As I wrote in How to Write a Novel, readers must want to spend time with your characters. They don't have to be lovable or even likable—that will depend on your genre and story choices—but they have to be captivating enough that we want to spend time with them. A character who is trying to solve a massive problem will naturally draw investment from the audience, even if we wouldn't want to have tea with them. Will Storr extended this idea by pointing out that the audience will actually root for a character to solve their problem even if the audience doesn't actually want the character's goal to be achieved in the real world. We don't really want more billionaires, but we invested in Adam Neumann's rise because that was the problem the story posed, and our brains are wired to invest in problem-solving. This connects to something deeper: what does your character want, and why? As I explore in How to Write a Novel, desire operates on multiple levels. Take a character like Phil, who joins the military during wartime. On the surface, she wants to serve her country. But she also wants to escape her dead-end town and learn new skills. Deeper still, her father and grandfather served, and by joining up, she hopes to finally earn their respect. And perhaps deepest of all, her father died on a mission under mysterious circumstances, and she wants to find out what happened from the inside. That layering of motivation is what turns a flat character into a three-dimensional one. The audience doesn't need to be told all of this explicitly. It can emerge through action, dialogue, and the choices the character makes under pressure. But you, the writer, need to know it. You need to know what your character really wants deep down, because that desire—more than any external plot device—is what drives the story forward. And your antagonist needs the same depth. They also want something, often diametrically opposed to your protagonist, and they need a reason that makes sense to them. In my ARKANE thriller Tree of Life, my antagonist is the heiress of a Brazilian mining empire who wants to restore the Earth to its original state to atone for the destruction caused by her father's company. She's part of a radical ecological group who believe the only way to restore Nature is to end all human life. It's extreme, but in an era of climate change, it's a motivation readers can understand—even if they disagree with the solution. Actionable step: If you're struggling to make a morally grey character work, make sure their problem is big enough and their methods are specific and interesting enough that we invest in the how, even if we're ambivalent about the what. 11. Build Vibrant Side Characters Gail Carriger made a point on episode 550 that was equal parts craft advice and business strategy. In a Heroine's Journey model, side characters aren't just fodder to be killed off to motivate the hero. They form a network. And because you don't have to kill them—unlike in a hero's journey, where allies are often betrayed or removed so the hero can be further isolated—you can pick up those side characters and give them their own books. Gail said this creates a really voracious reader base. You write one series with vivid side characters, and then readers fall in love with those side characters and want their stories. So you write spin-offs. The romance genre does this brilliantly—think of the Bridgerton books, where each sibling gets their own novel. The side character in one book becomes the protagonist in the next. Barbara Nickless experienced this firsthand with her Dr. Evan Wilding series. She has River Wilding, Evan's adventurous brother, and Diana, the axe-throwing research assistant, and her editor has already expressed interest in a spin-off series with those characters. Barbara described creating characters she wants to spend time with, or characters who give her nightmares but also intrigue her. That's the dual test: are they interesting enough for you to write, and interesting enough for readers to demand more? As I wrote in How to Write a Novel, characters that span series can deepen the reader's relationship with them as you expand their backstory into new plots. Readers will remember the character more than the plot or the book title, and look forward to the next instalment because they want more time with those people. British crime author Angela Marsons described it as readers feeling like returning to her characters is like putting on a pair of old slippers. Actionable step: Look at your supporting cast. Is there a side character who is vivid enough to carry their own story? If not, what could you add—a specific hobby, a distinct voice, a compelling backstory—that would make readers want more of them? 12. Use Voice as a Rhythmic Tool Voice is one of the most important elements of novel writing, and Matt Bird helped me think about it in a technical, mechanical way that I found really useful. He pointed out that the ratio of periods to commas defines a character's internal reality. A staccato rhythm—lots of periods, short sentences—suggests a character who is certain, grounded, or perhaps survivalist and traumatised. Katniss in The Hunger Games has a period-heavy voice. She's in survival mode. She doesn't have time for complexity or qualification. A flowing, comma-heavy style suggests someone more academic, more nuanced, or possibly more scattered and manipulative. The character who qualifies everything, who adds sub-clauses and digressions, is a different kind of person from the character who speaks in declarations. This is something you can actually measure. Pull up a passage of your character's dialogue or internal monologue and count the periods versus the commas. If the rhythm doesn't match who the character is supposed to be, you've found a mismatch you can fix. Sentence length is the heartbeat of your character's persona. And voice extends beyond rhythm to the words themselves. As I discussed in the metaphor families tip, each character should draw from a distinctive well of language. But voice also encompasses their relationship to silence. Some characters talk around the thing they mean; others say it straight. Some are self-deprecating; others are blunt to the point of rudeness. All of these choices are character choices, not just style choices. I find it useful to read my dialogue aloud—and not just to check for naturalness, but to hear whether each character sounds distinct. If you could swap dialogue lines between two characters and nobody would notice, you have a voice problem. One practical test: cover the dialogue tags and see if you can tell who's speaking from the words alone. Actionable step: Choose a key passage from your protagonist's point of view and read it aloud. Does the rhythm match the character? A soldier under fire should not sound like a philosophy professor at a wine tasting. Adjust the ratio of periods to commas until the voice feels right. 13. Link Character and Plot Until They're Inseparable Will Storr made the case on episode 490 that the number one problem he sees in the writing he encounters—in workshops, in submissions, even in published books—is that the characters and the plots are unconnected. There's a story happening, and there are people in it, but the story isn't a product of who those people are. He said a story should be like life. In our lives, the plots are intimately connected to who we are as characters. The goals we pursue, the obstacles we face, the same problems that keep recurring—these are products of our personalities, our flaws, our specific ways of being in the world. His framework is that your plot should be designed specifically to plot against your character. You've got a character with a particular flaw; the plot exists to test that flaw over and over until the character either transforms or doubles down and explodes. Jaws is the perfect example. Brody is afraid of water. A shark shows up in the coastal town he's responsible for protecting. The entire plot is engineered to force him to confront the one thing he cannot face. Will pointed out that the whole plot of Jaws is structured around Brody's flaw. It begins with the shark arriving, the midpoint is when Brody finally gets the courage to go into the water, and the very final scene isn't the shark blowing up—it's Brody swimming back through the water. Even a film that's ninety-eight percent action is, at its core, structured around a character with a character flaw. This is the standard I aspire to in my own work, even in my action-heavy thrillers. The external plot should be a mirror of the internal struggle. When those two are aligned, the story becomes irresistible. Will also made an important point about series fiction, which is where most commercial authors live. I asked him how this works when your character can't be transformed at the end of every book because there has to be a next book. His answer was elegant: you don't cure them. Episodic TV characters like Fleabag or David Brent or Basil Fawlty never truly change—and the fact that they don't change is actually the source of the comedy. But every episode throws a new story event at them that tests and exposes their flaw. You just keep throwing story events at them again and again. That's a soap opera, a sitcom, and a book series. As I wrote in How to Write a Novel, character flaws are aspects of personality that affect the person so much that facing and overcoming them becomes central to the plot. In Jaws, the protagonist Brody is afraid of the water, but he has to overcome that flaw to destroy the killer shark and save the town. But remember, your characters should feel like real people, so never define them purely by their flaws. The character addicted to painkillers might also be a brilliant and successful female lawyer who gets up at four in the morning to work out at the gym, likes eighties music, and volunteers at the local dog shelter at weekends. Character wounds are different from flaws. They're formed from life experience and are part of your character's backstory—traumatic events that happened before the events of your novel but shape the character's reactions in the present. In my ARKANE thrillers, Morgan Sierra's husband Elian died in her arms during a military operation. This happened before the series begins, but her memories of it recur when she faces a firefight, and she struggles to find happiness again for fear of losing someone she loves once more. And then there's the perennial advice: show, don't tell. Most writers have heard this so many times that it's easy to nod and then promptly write scenes that tell rather than show. Basically, you need to reveal your character through action and dialogue, rather than explanation. In my thriller Day of the Vikings, Morgan Sierra fights a Neo-Viking in the halls of the British Museum and brings him down with Krav Maga. That fight scene isn't just about showing action. It opens up questions about her backstory, demonstrates character, and moves the plot forward. Telling would be something like: “Morgan was an expert in Krav Maga.” Showing is the reader discovering it through the scene itself. Actionable step: Look at the main plot events of your novel. For each major turning point, ask: does this scene specifically test my protagonist's flaw? If not, can you redesign the scene so that it does? The tighter the connection between character and plot, the more powerful the story. 14. The ‘Maestra' Approach: Write Out of Order If you're a discovery writer like me, you may feel like the deep character work I've been describing sounds more suited to plotters. But Barbara Nickless gave me a beautiful metaphor on episode 732 that reframes it entirely. Barbara described her evolving writing process as being like a maestra standing in front of an orchestra. Sometimes you bring in the horns—a certain theme—and sometimes you bring in the strings—a certain character—and sometimes you turn to the soloist. It's a more organic and jumping-around process than linear writing, and Barbara said she's only recently given herself permission to work this way. When I told her that I use Scrivener to write in scenes out of order and then drag and drop them into a structure later, she was genuinely intrigued. And this is how I've always worked. I'll see the story in my mind like a movie trailer—flashes of the big emotional scenes, the pivotal confrontations, the moments of revelation—and I write those first. I don't know how they hang together until quite late in the process. Then I'll move scenes around, print the whole thing out, and figure out the connective tissue. The point is that discovery writers can absolutely build deep characters. Sometimes writing the big emotional scenes first is how you discover who the character is before you fill in the rest. You don't need a twenty-page character worksheet or a 200-page outline like Jeffery Deaver. You need to be willing to follow the character into the unknown and trust that the structure will emerge. As Barbara said, she writes to know what she's thinking. That's the discovery writer's credo. And I would add: I write to know who my characters are. Actionable step: If you're stuck on your current chapter, skip it. Write the scene that's burning in your imagination, even if it's from the middle or the end. That scene might be the key to unlocking who your character really is. 15. Use Research to Help with Empathy Research shouldn't just be about factual accuracy—it's a tool for finding the sensory details that create empathy. Barbara Nickless described research as almost an excuse to explore things that fascinate her, and I feel exactly the same way. I would go so far as to say that writing is an excuse for me to explore the things that interest me. Barbara and I both travel for our stories. For her Dr. Evan Wilding books, she did deep research into Old English literature and the Viking Age. For my thriller End of Days, I transcribed hours of video from Appalachian snake-handling churches on YouTube to understand the worldview of the worshippers, because my antagonist was brought up in that tradition. I couldn't just make that up. I had to hear their language, feel their conviction, understand why they would hold venomous serpents as an act of faith. Barbara also mentioned getting to Israel and the West Bank for research, and I've been to both places too. Finding that one specific sensory detail—the smell of a particular location, the specific way an expert handles a tool, the sound of a particular kind of music—makes the character's life feel lived-in. It's the difference between a character who is described as living in a place and a character who inhabits it. As I wrote in How to Write a Novel, don't write what you know. Write what you want to learn about. I love research. It's part of why I'm an author in the first place. I take any excuse to dive into a world different from my own. Research using books, films, podcasts, and travel, and focus particularly on sources produced by people from the worldview you want to understand. Actionable step: For your next piece of character research, go beyond reading. Watch a documentary, visit a location, talk to someone who lives the experience. Find one sensory detail—a smell, a sound, a texture—that you couldn't have invented. That detail will make your character feel real. Bonus: Measure Your Life by What You Create In an age of AI and a tsunami of content, your ultimate brand protection is the quality of your human creation. Barbara Nickless said that the act of producing itself is a balm to the soul, and I believe that with every fibre of my being. Don't be afraid to take that step back, like I did with my deadlifting. Take the time to master these deeper craft skills. It might feel like you're slowing down or going backwards by not chasing the latest marketing trend, but it's the only way to step forward into a sustainable, high-quality career. Your characters are your signature. No AI can replicate the specificity of your lived experience, the emotional truth of your displaced trauma, or the sensory details you've gathered from a life of curiosity and travel. Those are yours. Pour them into your characters, and they will resonate for years to come. Actionable Takeaway: Identify the Dramatic Question for your current protagonist. Can you state it in a single sentence with the kind of specificity Will Storr described? Is it as clear as “Are you ordinary or extraordinary?” or “Are you the only adult in the room?” If you can't answer it with that kind of precision, your character might still be a sketch. Give them a diagonal toast moment today. Find the one hyper-specific detail that proves they are not an imitation of life. And then ask yourself: does your plot test your character's flaw in every major scene? If you can align those two things—a precisely defined character and a plot that exists to test them—you will have a story that readers cannot put down. References and Deep Dives The episodes I've referenced today are all available with full transcripts at TheCreativePenn.com: Episode 732 — Facing Fears, and Writing Unique Characters with Barbara Nickless Episode 673 — Writing Choctaw Characters and Diversity in Fiction with Sarah Elisabeth Sawyer Episode 624 — Writing Characters with Matt Bird Episode 550 — The Heroine's Journey with Gail Carriger Episode 490 — How Character Flaws Shape Story with Will Storr Books mentioned: The Secrets of Character: Writing a Hero Anyone Will Love by Matt Bird The Science of Storytelling by Will Storr The Heroine's Journey by Gail Carriger How to Write a Novel: From Idea to Book by Joanna Penn You can find all my books for authors at CreativePennBooks.com and my fiction and memoir at JFPennBooks.com Happy writing! How was this episode created? This episode was initiated created by NotebookLM based on YouTube videos of the episodes linked above from YouTube/TheCreativePenn, plus my text chapters on character from How to Write a Novel. NotebookLM created a blog post from the material and then I expanded it and fact checked it with Claude.ai 4.6 Opus, and then I used my voice clone at ElevenLabs to narrate it. The post Writing Characters: 15 Actionable Tips For Writing Deep Character first appeared on The Creative Penn.

A Star Is Born has been filmed four times, but the first version is the best: a combination of Singin' in the Rain and Death of a Salesman, David O. Selznick's production drips with “movie” and artificiality, yet still delivers an ending that seems taken from Greek tragedy. No stars were harmed in the making of this film–yet the film also dramatizes the harm inflicted by a steady diet of fame. It's not an indictment of Hollywood, but an illustration of how the machine works. Incredible bumper music by John Deley. If you're interested in reading Dorothy Parker, Robert Carson, and Alan Campbell's excellent screenplay, you can find it here. The collection Memo from David O. Selznick is an addictive edition of hundreds of memos, telegrams, and letters from the producer about the films he helped create, A Star Is Born among them. Please subscribe to the show and consider leaving us a rating or review. You can find over three hundred episodes wherever you get your podcasts. Follow the show on Letterboxd and email us any time at fifteenminutefilm@gmail.com with requests and recommendations. Check out Dan Moran's substack, Pages and Frames, where he writes about books and movies, as well as his many film-related author interviews on The New Books Network. Read Mike Takla's substack, The Grumbler's Almanac, for commentary on offbeat topics of the day. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

A Star Is Born has been filmed four times, but the first version is the best: a combination of Singin' in the Rain and Death of a Salesman, David O. Selznick's production drips with “movie” and artificiality, yet still delivers an ending that seems taken from Greek tragedy. No stars were harmed in the making of this film–yet the film also dramatizes the harm inflicted by a steady diet of fame. It's not an indictment of Hollywood, but an illustration of how the machine works. Incredible bumper music by John Deley. If you're interested in reading Dorothy Parker, Robert Carson, and Alan Campbell's excellent screenplay, you can find it here. The collection Memo from David O. Selznick is an addictive edition of hundreds of memos, telegrams, and letters from the producer about the films he helped create, A Star Is Born among them. Please subscribe to the show and consider leaving us a rating or review. You can find over three hundred episodes wherever you get your podcasts. Follow the show on Letterboxd and email us any time at fifteenminutefilm@gmail.com with requests and recommendations. Check out Dan Moran's substack, Pages and Frames, where he writes about books and movies, as well as his many film-related author interviews on The New Books Network. Read Mike Takla's substack, The Grumbler's Almanac, for commentary on offbeat topics of the day. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

'The View' co-hosts and guest co-host Sheryl Underwood weigh in as a preliminary inquiry reported by 'The New York Times' finds the United States at fault for the missile strike on a girls' school in Iran that killed 175 people, raising urgent questions nearly two weeks into the ongoing attacks. Nathan Lane returns to Broadway in a bold revival of 'Death of a Salesman' and joins the show to reflect on why Arthur Miller's themes feel more urgent than ever. He also shares his thoughts on Timothée Chalamet's controversial comment that “no one cares” about ballet or opera. Plus, Stephen Lang stops by to discuss honoring a powerful true story in 'The Optimist'. He shares what drew him to portraying Holocaust survivor Herbert Heller and reflects on why these stories must continue to be told. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this episode, Chris Fresh breaks down how to build relationships by just being a professional. From how to establish yourself as an expert to how to best serve your customer.

“Takes All Kinds”—An American Public Affairs Discussion and Demonstration of Journalistic Theatre Actor and playwright Dan Hoyle and his director, celebrated director/actor Aldo Billingslea, provide an inside look at the creation of their widely acclaimed new solo performance piece “Takes All Kinds.” Dan's blog reminds the viewer that  ”I'll be disappearing into these different characters and stories and you'll be glad to journey there with me. They've been traveling with me these last couple years. I think they'll stay with you too.” With “Takes All Kinds,” Hoyle and Billingslea use journalistic theater and embodied storytelling to portray powerful, funny and complex people caught in the social and political currents roiling our society. They create portraits of everyday Americans through moving and funny true stories of American democracy: school board showdowns in Florida, grassroots organizers in Atlanta, barber shops in Las Vegas, deprogrammers of violent extremists in Missouri and more. In this mostly offstage oriented “talk-back” presentation, listeners and observers will have an opportunity to explore with Hoyle and Billingslea how thousands of hours go into a little over an hour show. The artists' view reveals (somewhat) the amazing mystery of live transformative theatrical narrative that has everyone laughing and pin-drop listening with the next moment. And always has the audience talking as they depart. Yes—it's about politics, but could experiencing public affairs embodied theatre journalism bring people something they needed more than they realized?   “Stunning…something almost supernatural happens,” according to the  San Francisco Chronicle. Currently based at the Marsh Theatre, “Takes All Kinds” has toured elsewhere in California plus New York City, Charleston and Chicago, and will be heading to Idaho, Florida and more in 2026. About the Speakers Oakland-based Dan Hoyle is an actor and writer whose immersion research theater work has been hailed as "riveting, funny and poignant" (The New York Times) and "hilarious, moving and very necessary" (Salon). His solo shows, all originated at The Marsh in San Francisco, have played across the country at The Public Theater, Culture Project, Baltimore Center Stage, Berkeley Rep, Cleveland Playhouse, Mosaic Theater Company, Oregon Shakespeare Festival, Portland Center Stage, Playmakers Rep, Painted Bride, Pure Theater and abroad in India, Ireland, Wales, Mexico, Canada and Nigeria. Aldo Billingslea (director) is a professor of theater at Santa Clara University (SCU). SCU's associate provost for diversity and inclusion, and served as the vice president of the 100 Black Men of Silicon Valley; he's a board member of TheatreWorks Silicon Valley, theatre program director for The222.org in Healdsburg, California.As an academic, he is a professor of American theatre from the Black perspective, acting styles, Shakespeare, and seminars on August Wilson. Billingslea is a lifelong professional actor featured in more than two dozen Shakespeare plays, productions of August Wilson's Gem of the Ocean, Ma Rainey's Black Bottom, and Fences, Arthur Miller's Death of a Salesman, Tennessee Williams' A Streetcar Named Desire, and Lorraine Hansberry's The Sign in Sydney Bernstein's Window. He also worked at the American Conservatory Theater, the Aurora Theater, California Shakespeare Theater, Lorraine Hansberry Theater, and the Marin Shakespeare Theater. An Arts Member-led Forum program. Forums at the Club are organized and run by volunteer programmers who are members of The Commonwealth Club, and they cover a diverse range of topics. Learn more about our Forums.  Organizer: Anne W. Smith  Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode of I'm an Artist, Not a Salesman, host Luis Guzman sits down with entrepreneur, investor, and author Luis Omar Figueroa, a Bronx-born business leader who turned real estate and mortgage lending into a powerful vehicle for opportunity, ownership, and generational change. What starts as a conversation about business quickly unfolds into a deeper look at mindset, resilience, financial literacy, and the responsibility that comes with success.Growing up in the Bronx, Luis Omar Figueroa witnessed firsthand the economic limitations and cultural narratives that often shape the way people think about money, work, and opportunity. Instead of accepting those limits, he carved out his own lane. After entering the mortgage industry in the early 2000s, he faced one of the toughest tests an entrepreneur could experience: the 2008 housing market crash. While many left the industry, he stayed, adapted, and built the foundation for what would eventually become Hudson Group Realty, along with a reputation as a trusted voice in lending and real estate strategy.Throughout the conversation, Luis and Omar dive into the realities behind entrepreneurship that rarely get talked about openly. They discuss the immigrant mindset around work and sacrifice, the pressure that comes with leadership, and the importance of learning how to balance ambition with personal well-being. Omar shares powerful stories about building his career without mentors in the industry, learning complex financial systems on the fly, and discovering that ownership—both financially and mentally—is one of the most powerful tools anyone can develop.The episode also explores the idea that success isn't just about money. It's about legacy. Omar speaks candidly about fatherhood, guiding his three sons, and the responsibility he feels to change the narrative for the next generation. He explains how breaking cycles of scarcity thinking and replacing them with education, strategy, and confidence can transform not just individual lives, but entire families.Listeners will hear real talk about the emotional side of business, including dealing with stress, navigating setbacks, and maintaining clarity when life throws unexpected challenges your way. The conversation also highlights how community, mentorship, and exposure to new environments can unlock potential that many people don't realize they have.Some of the powerful topics explored in this episode include:The mindset shift from survival to ownershipLessons from the 2008 housing crash and how resilience shapes entrepreneursWhy financial literacy is critical for building generational wealthBreaking cultural narratives that limit growth and opportunityThe role of mentorship, exposure, and community in long-term successBalancing ambition, family life, and personal developmentHow real estate can become a vehicle for stability and financial growthWhat makes this episode special is the honesty. Both Luis Guzman and Luis Omar Figueroa share personal stories about struggle, family dynamics, and the internal battles that come with trying to build something bigger than yourself. It's a conversation that blends entrepreneurship, personal development, and cultural identity into a powerful message about taking control of your life and your future.If this conversation resonates with you, make sure to follow I'm an Artist, Not a Salesman on YouTube, Apple Podcasts, and Spotify. Subscribe so you never miss an episode featuring entrepreneurs, creatives, and leaders sharing the real stories behind their success.You can also connect with Luis Guzman and stay updated on upcoming guests, events, and podcast clips by following the show on Instagram and TikTok at @imanartistnotasalesman. Sharing the episode, leaving a review, and spreading the message helps the podcast continue bringing meaningful conversations to the community.

Arthur Miller’s Death of a Salesman premiered in 1949. It won the Pulitzer Prize for Drama and the Tony Award for Best Play. It’s been said that it’s “probably the most successful modern play ever published.” This hour, with a new Broadway revival in previews, and with Peter Jacobson playing the title role in a new production at Hartford Stage, a look at Arthur Miller’s masterpiece of American drama, Death of a Salesman. GUESTS: Melia Bensussen: Artistic director at Hartford Stage and the director of their current production of Death of a Salesman Peter Jacobson: An actor; he’s playing Willy Loman in Hartford Stage’s current production of Death of a Salesman Stephen Marino: Founding editor of The Arthur Miller Journal and the author, most recently, of Arthur Miller’s New York: Visions of the City The Colin McEnroe Show is available as a podcast on Apple Podcasts, Spotify, Amazon Music, TuneIn, Listen Notes, or wherever you get your podcasts. Subscribe and never miss an episode! Subscribe to The Noseletter, an email compendium of merriment, secrets, and ancient wisdom brought to you by The Colin McEnroe Show. Join the conversation on Facebook and Twitter. Colin McEnroe, Eugene Amatruda, and Robyn Doyon-Aitken contributed to this show.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

Immerse yourself in captivating science fiction short stories, delivered daily! Explore futuristic worlds, time travel, alien encounters, and mind-bending adventures. Perfect for sci-fi lovers looking for a quick and engaging listen each day.

Boyle watches a harrowing documentary that gives a glimpse into the abyss. 

In this powerful and deeply personal episode of I'm an Artist, Not a Salesman, host Luis Guzman sits down with Keith McPherson for a conversation that goes far beyond sports. You may know Keith as the former nighttime host on WFAN, a die-hard Yankees voice, and one of the most recognizable personalities in New York sports radio. But in this episode, you meet the man behind the mic.Keith opens up about his decision to step away from his full-time role at WFAN and why choosing fatherhood and family over status and schedule was the hardest — and most necessary — call of his career. He shares what it really felt like to grind through late nights, battle exhaustion, and realize that success on paper doesn't mean much if you're missing bedtime prayers with your son.The conversation takes a deeper turn as Keith speaks candidly about losing his older brother in a tragic accident. The grief, the guilt, the shock — and how that moment changed his entire outlook on life. Instead of folding, he made a decision: if life is fragile, then he's going all in. That loss became fuel. It sharpened his ambition, strengthened his faith, and gave him clarity about legacy.This episode is about more than radio or baseball. It's about manhood, responsibility, grief, faith, and reinvention. Keith talks about being a Black man navigating media, the pressure of performing in New York, the weight of public scrutiny, and how he refused to let others control his narrative when he left WFAN. He didn't disappear. He made the announcement himself — and it went viral for a reason.If you're a creative, entrepreneur, or someone stuck between security and calling, this conversation hits hard. Keith reminds us that betting on yourself isn't reckless when it's aligned with purpose.You'll hear insights on:Why stepping away from a “dream job” can actually be growthHow grief can become fuel instead of a cageThe emotional impact of radio and why voices matterFatherhood as motivation, not limitationBuilding a personal brand that outlives a platformThroughout the episode, Luis Guzman keeps it real, asking the questions most people avoid. What does success actually mean? Is it money? Fame? Or is it impact? Keith shares stories of listeners who leaned on his voice during their darkest moments — including one man who credits Keith's show with stopping him from taking his own life. That's not ratings. That's purpose.There's also plenty of sports talk for the die-hards. The Yankees, front office frustrations, the culture of New York sports media, and what it's like going from the bleachers to the broadcast booth. But even those moments tie back to a bigger theme: legacy over ego.At its core, this episode is a reminder that titles don't define you. Integrity does. Family does. Faith does.Keith walks away from WFAN not empty-handed, but carrying experience, perspective, and a stronger sense of self. As he says, it's not about what you walk away from — it's about what you walk away with.If this conversation moved you, challenged you, or made you reflect on your own path, make sure to subscribe to I'm an Artist, Not a Salesman on YouTube and all major podcast platforms. Leave a review, share the episode with someone who needs it, and tag Luis Guzman and Keith McPherson on social media with your biggest takeaway. Your support helps amplify real stories, real growth, and real conversations that creatives and entrepreneurs actually need to hear.

Spring cleaning is in full swing at the Anderson's. It all gets pushed aside when Jim finds out an important potential client is supposed to show up for a meetingOriginally aired on May 3, 1951. This is episode 80 of Father Knows Best.Become a supporter of this podcast: https://www.spreaker.com/podcast/classic-comedy-of-old-time-radio--5818299/support.Please email questions and comments to host@classiccomedyotr.com.Like us on Facebook at facebook.com/classiccomedyotr. Please share this podcast with your friends and family.You can also subscribe to our podcast on Spreaker.com, Spotify, iTunes, Stitcher, TuneIn, iHeartRadio, and Google podcasts.This show is supported by Spreaker Prime.Become a supporter of this podcast: https://www.spreaker.com/podcast/classic-comedy-of-old-time-radio--5818299/support.

In this episode of Yahweh's Money, we are dismantling the uncomfortable "dirty" feeling many people of faith associate with selling. I sat down with 40-year sales veteran and master sales coach Thomas Ellis to explore how sales is not about pushing a product, but a noble extension of our faith and a direct form of serving our neighbor.Together, we unpack how to shift your mindset from "selling" to "helping" and why standing firm on your pricing is actually an act of high-level stewardship. From overcoming the "slick" salesman stereotype to navigating the emotional landscape of business, we discuss how to grow your bank account with integrity, confidence, and a servant's heart.You'll Discover:The "Help" Mindset: Why reframing the word "sell" to "help" shifts your focus toward problem-solving and changes your entire business mindset.Pricing as Stewardship: Why undercharging for your services is a poor use of the gifts God gave you and how it undervalues your unique education and expertise.Investment vs. Cost: How shifting your language to focus on "investment" highlights the future return for the client rather than a simple loss of funds.Featured Scripture:Colossians 3:23 — "Whatever you do, work at it with all your heart, as working for the Lord, not for human masters."Action Steps:This week, audit your "help" pitch and your pricing structure to ensure they reflect the value of your calling:Audit Your Pricing: Review your current rates and ask yourself if they reflect your years of experience and training. If you are undercharging out of fear, adjust your pricing this week.Break Down the Value: List the specific outcomes and benefits a client receives for their investment. Clearly explaining what is included makes the price a secondary concern to the value provided.Pray for a Servant's Eyes: Before your next meeting, ask God to let you see the person as He does and allow your service to be a genuine solution to their need.When you shift your mindset from selling to helping and stand confidently in the value of your gifts, you transform your business into a vessel for service and stewardship.Send a text

This week we celebrated the American Dream by watching a movie about how achievable and real it is! The 1985 made-for-TV-movie Death of a Salesman, starring Dustin Hoffman and John Malkovich. Tune in next week when our movie will be... The 'Burbs. ----- Follow Emily on Instagram and visit Emily's ETSY store FlemGems See Matt at the Punch Line in San Francisco March 3-7 with Beth Stelling.  THE JORDAN MORRIS WORLD TOUR!! (jk, it's just a couple of dates) 2/25 - Collectors Paradise North Hollywood, 5pm - 7pm 2/26 - Predator Double Feature @ The Frida Cinema in Orange County, 7pm https://thefridacinema.org/coming-soon/ 2/28 - Books With Pictures Eugene, OR 12pm - 3pm Also Jordan is doing some dates with the Doughboys. You can get your tickets at BirdFuck.com 2/28 - Portland 3/1 - Seattle

In this episode of “Half Hour”, we take a closer look at the upcoming Spring 2026 Broadway season, highlighting new productions, high-profile revivals, and the casting announcements shaping the conversation. We discuss Daniel Radcliffe leading Every Brilliant Thing at the Hudson Theatre, Nathan Lane and Laurie Metcalf returning in Death of a Salesman at the Winter Garden, and the Broadway arrival of Beaches, A New Musical at the Majestic with Jessica Vosk and Kelli Barrett. The conversation also touches on titles including Dog Day Afternoon, Giant, Becky Shaw, Cats! The Jellicle Ball, The Fear of 13, The Rocky Horror Show, Titanique, Fallen Angels, The Lost Boys, Joe Turner's Come and Gone, The Balusters, Proof, and Schmigadoon, and how they collectively define this spring's landscape on Broadway. Follow and connect with all things @HalfHourPodcast on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Share your thoughts on these productions in the comments on Spotify, and let us know what you would like us to cover next. If you enjoy these conversations, follow Half Hour and leave a rating and review so more theater lovers can find the podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

New Jersey in the house. Octogenarian Calvin Schwartz shares life wisdom, the truth of marriage and support, being willing to make dramatic changes, his story from starting out his career as a pharmacist, moving into being a novelist and then running a podcast (with many other steps in between). And, throughout the show, he delivers awesome longevity nuggets.His "Just Be Practice" talks of Afib and Jesus.Connect with Calvin: Website: https://calvinschwartz.com  His Book - "There's a Tortoise in My Hair; A Journey to Spirit" on Amazon:  https://amzn.to/3tyNTBPodcast: Conversations with Calvin; WE the SpecIES (please subscribe):https://www.youtube.com/@conversationswithcalvinwethesp   LinkedIn: https://www.linkedin.com/in/calvin-schwartz-866a805 Email: calvinbarryschwartz@gmail.com*Host Eden Koz is a soul realignment specialist utilizing psychological empathy, intuition, psychic ability, mediumship, meditation, mindset shift, Reiki, dimensional and galactic healing, to name a few. She also performs spiritual Co#id Vac+ Healing as well as remote & face-to-face sessions with individuals and groups. **Additionally, in spreading the word... If you are questioning your Gold IRA because of potential scams (see EP188) or want to invest in a precious metals company with integrity...email: info@milesfranklin.com and put "Eden" in the subject line (they know me personally, so the best of attention and heart will come your way.)Miles Franklin website: https://milesfranklin.com Contact info for Eden Koz / Just Be®, LLC:Website: EdenJustBe.com Socials: TikTok, FB, FB (Just Be), X, Insta, LinkedInJust Be~Spiritual BOOM Podcast - Video Directories: BitChute, Rumble, ...

In this powerful episode of I'm an Artist, Not a Salesman, host Luis Guzman sits down with tattoo artist and gallery owner Yosh, the creative force behind The Ink Gallery in Staten Island and Sacred Ink Gallery in South River, New Jersey. What unfolds is not just a conversation about tattooing, but a deep dive into risk, legacy, fatherhood, authenticity, and what it really means to build a life around your art.Yosh shares his journey from being a graffiti kid with a nickname that stuck, to working as a corporate creative director designing major campaigns for global brands, to walking away from financial security during the 2009 recession. While others were clinging to stability, he made the terrifying leap into full-time tattooing. No investors. No safety net. Just belief, skill, and an unshakable drive to create something of his own.This episode explores the tension so many creatives feel: stay safe in corporate or bet on yourself? Yosh opens up about watching mentors lose their jobs, realizing he didn't want anyone controlling his destiny, and choosing the uncertain road. What started in a private studio tattooing friends every single day turned into two thriving galleries built from the ground up.But this conversation goes beyond entrepreneurship. Yosh reframes tattooing as something deeper than a service. He sees it as sacred work. Permanent art. Emotional surgery. A transfer of energy between artist and client. He talks about interviewing clients before agreeing to work with them, understanding their stories, and recognizing the difference between someone who wants a quick stamp and someone who values art as legacy.Key themes we unpack in this episode include:Leaving corporate to pursue creative freedomBuilding a tattoo business with no loans or outside fundingPassion over profit and what that actually looks likeBalancing fatherhood, fitness, and entrepreneurshipThe evolution of tattoo culture in the age of AI and social mediaWhy authenticity matters more than hypeTurning a tattoo shop into a fine art gallery experienceYosh also speaks candidly about the emotional weight of his work. From memorial tattoos to major life milestones, he has marked thousands of people permanently. He describes tattooing not as decoration, but as purpose-driven craftsmanship. In his words, you are only as good as your last piece. Every design is treated like his first.We also dive into the mindset that keeps him sharp: early morning gym sessions, constant research, fasting discipline, and staying present in each role he plays. Whether he's tattooing, painting large-scale canvases, or spending time with his kids, he operates from one core principle: legacy over ego.For artists listening who feel stuck, underappreciated, or afraid to take the leap, this episode is a real look at what it costs and what it gives back. Yosh proves you don't need fame to be fulfilled. You need purpose, discipline, and the courage to bet on your craft.If this conversation resonated with you, make sure to subscribe to I'm an Artist, Not a Salesman on Apple Podcasts, Spotify, and YouTube. Search Luis Guzman – I'm an Artist, Not a Salesman and hit subscribe so you never miss an episode. Follow the podcast on Instagram at @imanartistnotasalesman for behind-the-scenes clips, guest updates, and upcoming releases. Share this episode with a creative who needs the push to take their next step. Your support keeps this platform alive and growing.

Mexican Mayhem, WWIII, and shilling for Satan in the Ben Gurion airport. Oh, and some stuff about why the average soldier will smoke you no questions asked.open.spotify.com/show/3LUIIaiw95X2sAbRJDK3oByoutube.com/@abusehourt.me/THEABUSEHOURbuymeacoffee.com/COFFEELONG

This episode features our RhinoGang roundup from #FuryFC116 #CW200 Full #UFCHouston recap, the "Drop of the Night", main card picks for #UFCMexicoCity, Listener Q&A session with the RhinoGang plus 8-0 @LFAfighting bantamweight Amari Sengsavanh goes 10 Rounds with Rhino! Art by @JAYMMAYT

Bruce Goldberg is a dentist by training who later became known as a hypnotherapist and author writing about past-life regression, time travel consciousness, and metaphysical healing concepts. Discussions framed around titles such as “Dentist or Snake Oil Salesman – It's All BS!” reflect the strong controversy surrounding his claims and methods. Critics question the scientific validity of his metaphysical assertions and therapeutic approaches, while supporters view his work as exploratory consciousness research and spiritual healing practice. His career illustrates the broader public debate over regression therapy, alternative metaphysics, and the standards of evidence applied to extraordinary claims.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-x-zone-radio-tv-show--1078348/support.Please note that all XZBN radio and/or television shows are Copyright © REL-MAR McConnell Meda Company, Niagara, Ontario, Canada – www.rel-mar.com. For more Episodes of this show and all shows produced, broadcasted and syndicated from REL-MAR McConell Media Company and The 'X' Zone Broadcast Network and the 'X' Zone TV Channell, visit www.xzbn.net. For programming, distribution, and syndication inquiries, email programming@xzbn.net.We are proud to announce the we have launched TWATNews.com, launched in August 2025.TWATNews.com is an independent online news platform dedicated to uncovering the truth about Donald Trump and his ongoing influence in politics, business, and society. Unlike mainstream outlets that often sanitize, soften, or ignore stories that challenge Trump and his allies, TWATNews digs deeper to deliver hard-hitting articles, investigative features, and sharp commentary that mainstream media won't touch.These are stories and articles that you will not read anywhere else.Our mission is simple: to expose corruption, lies, and authoritarian tendencies while giving voice to the perspectives and evidence that are often marginalized or buried by corporate-controlled media

Same size. Same spacing. No bold letters or warnings. Don't let the midnight salesman in.

Another round of Are You Smarter Than Kincaid? See omnystudio.com/listener for privacy information.

In this episode of I'm an Artist, Not a Salesman, host Luis Guzman sits down with DJ Drewski for a raw, wide-ranging conversation about longevity, identity, and what it really takes to build a meaningful career in hip hop without losing yourself. This isn't a highlight reel interview. It's an honest look at the grind behind the titles, the responsibility that comes with influence, and the quiet work people never see.DJ Drewski walks through his journey from carrying crates in New Jersey to becoming the first DJ from the state to hold a weekday midday slot on Hot 97 in over three decades. He talks openly about staying relevant in a fast-moving industry, how curiosity has shaped his career, and why paying dues still matters even when the industry pretends it doesn't. The conversation digs into the difference between overnight success and earned growth, and why the long road builds stronger artists, better leaders, and more grounded humans.The episode goes deeper than music. Drewski opens up about fatherhood, marriage, loss, and how personal responsibility changed the way he moves in business and in life. He shares the emotional impact of losing his father, how grief showed up in unexpected ways, and what it took to finally let go and move forward. These moments give real context to the confidence people see on the surface.Luis and Drewski also unpack culture, community, and service. From creating platforms for unsigned artists, to organizing festival stages for local talent, to opening a family-owned Rita's Italian Ice, Drewski explains why giving back isn't branding, it's a responsibility. He breaks down why he keeps showing up for the culture even when there's no check, no credit, and no applause.Key themes and takeaways discussed in this episode include:Staying relevant in hip hop without chasing trendsThe mindset behind long-term success versus fast fameUsing influence to open doors instead of guarding themNavigating grief, growth, and responsibility as a creativeWhy community work matters even when no one sees itBuilding businesses that reflect who you actually areThroughout the conversation, Luis Guzman challenges the idea that success should look flashy or loud. Instead, this episode highlights consistency, humility, and intentional decision-making as the real markers of growth. It's a reminder that being an artist doesn't mean avoiding business, it means doing business in a way that still feels honest.This episode is especially valuable for creatives, DJs, artists, and entrepreneurs who feel stuck between staying true to themselves and surviving in an industry that rewards shortcuts. It's proof that you can build something lasting without selling your soul, switching up on people, or forgetting where you came from.If this conversation resonated with you, make sure to subscribe to I'm an Artist, Not a Salesman on your preferred podcast platform. Watch the full episode on YouTube, follow the podcast on social media for behind-the-scenes clips, and share this episode with someone who needs to hear it. Your support helps the show grow and keeps these conversations going.

The deal isn't closed by force; it's closed by clarity. Most of you are white-knuckling the steering wheel of your career, praying the upholstery doesn't rip before you hit your Q4 numbers. You're treating your discovery calls like a tactical extraction and your nervous system like a rented mule. It's high-friction, low-resonance, and frankly, it's a waste of your biological bandwidth. We sat down with Kevin Hubschmann, the founder of Laugh Dot Events, to discuss why your "professional" persona is actually a bottleneck for your ROI. Kevin transitioned from selling enterprise SaaS to what he calls "LaaS" (Laughter as a Service). But this isn't about telling jokes in the breakroom. This is about Human Physics. It's about using the mechanics of improv to regulate your state, navigate high-stakes environments, and stop being a "JV" version of yourself. When you operate with less internal friction, the market responds. Key Insights for the Coherent Leader: "F*** Your Good Idea": In improv and enterprise sales, your attachment to your own "brilliant" next line is a parasite. It eats your capacity to listen. Kevin highlights that true leverage comes from abandoning your script to meet the resonance of the room. Stop interrupting the flow to deliver a pitch the client didn't ask for. The Identity Tax: Most professionals suffer from a split-personality deficit—a "9-to-5" robot and a "5-to-9" human. This internal dissonance is a massive energy leak. Kevin's "unlock" happened when a mentor gave him permission to stop being a "Salesman" and start being himself. Authenticity isn't a soft skill; it's a regulation strategy. The Corporate Simulation: We all use the same twenty buzzwords—"circle back," "synergy," "alignment"—to mask the fact that we're stressed. Acknowledging the absurdity of the corporate vernacular reduces the collective pressure in the room. Laughter is the fastest way to reset a dysregulated team and restore cognitive bandwidth. Strategic Empathy as Leverage: Enterprise deals aren't won by "crushing" the opposition. They are won by making your champion a rockstar. Kevin's approach focuses on finding the right budget—shifting from a "tactical" spend to a "strategic" investment—by reading the human physics of the organization. The Shift: Stop trying to override your biology with more caffeine and louder presentations. Regulation is the new competitive advantage. Kevin's work proves that when you lean into levity and presence, you aren't just "having fun"—you are increasing your capacity to handle complexity. You are becoming the eye of the storm. If your team is currently vibrating at a frequency of pure anxiety, it's time to recalibrate. Operate with less friction. The results will follow the resonance. If your team is vibrating with unnecessary friction, Kevin is the eye of the storm you need. Get your offsite sorted before the wheels fall off. Navigate over to https://laughrx.laugh.events and fix your culture before it breaks you.

Welcome to a time-travel podcast diving into football's greatest almost moments — the transfers that came within touching distance of reality, Richie McCormack's Sliding Doors.Sliding Doors goes beyond rumours and gossip to uncover deals that were genuinely on the tableEach episode explores how one decision could have reshaped clubs, careers, and the entire football landscapeFrom whispered negotiations to official bids, this is the anatomy of football's biggest “what ifs”Think Michael Laudrup to Liverpool, Robert Lewandowski to Blackburn… and yes, Ronaldo to RangersThis episode takes us back to 1964, newly promoted Hannover 96 came astonishingly close to signing Pelé — the greatest player the game has ever seen — for the infant Bundesliga.As club legend Friedel Schicks moved toward retirement, a replacement was quietly discussed that sounded almost unbelievable: Pelé was supposed to succeed him at the heart of Hannover's team.The man pushing the idea wasn't a scout or an agent, but board member Hans-David Ziegra — an ice-cream machine salesman with strong Brazilian connections and a past far darker than most in German football.Ziegra's history included Nazi Party membership, intelligence work across Europe, post-war CIA scrutiny, and decades-long ties to Brazil, all of which helped fuel the extraordinary attempt to lure Pelé to Germany.Hannover could afford the move — Bundesliga wages soon eclipsed what Pelé earned at Santos — but Pelé's status as a national treasure made any transfer politically and culturally explosive.With Brazil under military rule in 1964, Pelé chose to stay, later admitting talks with Hannover had taken place but that leaving Santos at such a volatile moment was never realistic.Pelé never played in the Bundesliga, and German football went another way — but this forgotten near-miss invites one tantalising question: how differently might football history look if the greatest player of all time had arrived in Germany at the dawn of the Bundesliga?Become a member and sign up at offtheball.com/join

"It may not be Mister Right YouTube, but it is Mister Right Now." — Erika DildayOn Super Bowl Sunday — with America celebrating its 250th anniversary — Erika Dilday joins to discuss the power of documentary film to cut through algorithmic noise and show us who we really are. As executive producer of POV, the longest-running documentary program on American television (now entering its 39th season), Dilday has spent her career championing first-person storytelling that platforms won't surface. She's also co-directing an upcoming series with Ken Burns, Emancipation to Exodus, exploring the period from the Civil War to the Great Migration. We discuss why algorithms limit discovery, whether AI can replicate human nuance, and what she learned from screening films at San Quentin.About the GuestErika Dilday is the Executive Producer of POV, America's longest-running documentary series, now in its 39th season on PBS. She is co-directing Emancipation to Exodus with Ken Burns, a documentary series about the period from the end of the Civil War to the Great Migration, scheduled for PBS in 2027. Her father was the first Black television station manager in the United States.Chapters:00:00:01 OpeningSuper Bowl Sunday, America's 250th, and Erika's prediction ("all Patriots all the way")00:02:28 Emancipation to ExodusHer collaboration with Ken Burns on the period from Civil War to Great Migration (PBS, 2027)00:05:09 Her father's legacyThe first Black TV station manager in the United States; "Those who want change don't have the luxury of being comfortable"00:06:23 Documentary as truth and artWhat distinguishes film from news; Hoop Dreams and the power of immersive storytelling00:08:21 POV's mission39 seasons, Tongues Untied, and stories that wouldn't be told elsewhere00:11:27 PBS and the culture warsPressures on public broadcasting, the need for alternative distribution00:15:47 YouTube: Mister Right NowNot the ideal platform, but the only one for democratic distribution00:17:38 San Quentin Film FestivalIncarcerated audiences engaging deeply with documentary00:20:06 Media consolidationTime Warner, Netflix, Paramount; indie platforms like Mubi and Ovid00:21:49 Algorithms and discoveryPlatforms suggest what they think you want, not what might stretch your thinking00:24:47 AI vs. human nuance"It can be imitated, but it's not going to be replicated"00:27:26 Oscar picksThe Perfect Neighbor (2025) (Netflix) and Cutting Through Rocks (2025) (the sleeper)References:POVHoop Dreams (1994) — documentary about two Chicago high school students dreaming of NBA careersTongues Untied (1989) — Marlon Riggs' documentary on Black gay identity in America (POV Season 4)Salesman (1968) — Maysles Brothers documentary following door-to-door Bible salesmenThe Perfect Neighbor (2025) — Geeta Gandbhir's documentary about a killing in Florida, told through body cam footage (Netflix)Cutting Through Rocks (2025) — Sara Khaki and Mohammad Reza Eyni's documentary about a female elected official and motorcycle rider in IranSan Quentin Film Festival — the first film festival ever held inside a U.S. prison, celebrating incarcerated and formerly incarcerated filmmakersIndependent platforms mentioned: Mubi, Ovid, JoltAbout Keen On AmericaKeen On America is a daily podcast hosted by Andrew Keen, the Anglo-American writer and Silicon Valley insider. Every day, Andrew brings his uniquely transatlantic and eclectic eye to the forces reshaping the United States — interviewing leading thinkers and writers about American politics, technology, culture, and democracy. With nearly 2,800 episodes, Keen On America is the most prolific intellectual interview show in podcasting history.Website: KeenOn.TVSubstack: keenon.substack.comYouTube: youtube.com/@KeenOnShowApple Podcasts: Keen On AmericaSpotify: Keen On America

In this episode of Pool Magazine Podcast, host Joe Trusty sits down with James Votraw, Southeast Business Development Manager for Latham Pools, whose remarkable 150-pound weight-loss journey has captured national attention. James opens up about the moment that forced him to reevaluate his health, how a persistent case of hiccups and a hospital visit became his wake-up call, and how his backyard pool transformed from a simple amenity into the tool that completely changed his life.As the conversation unfolds, Votraw explains how swimming each day reshaped not only his body but his mindset, career, and family life. He talks about consistency, balance, and how builders and designers can do a better job of framing pools as wellness spaces rather than just leisure features. His message to the pool industry is clear: the products we create don't just beautify backyards—they can build better human beings.Send us a textAquaBlu MosaicsAquaBlu Mosaics is a leading provider of mosaic tile and custom mosaics for swimming pools and spas.Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the showFollow Pool Magazine, the leading source for pool news on Social Media: Facebook Instagram TikTok YouTube

Kelly, Jan & Albert are joined by Albert's long-term boyfriend, Kyle, and do we hear wedding bells?? They discuss how and when to throw a wedding after 25 years of dating, wedding anniversary gifts, and Jan updates the team about her hilarious move mishap. Kelly spills on everything she knows about Mark's latest Broadway play, Fallen Angels, as well as the baby aka Joaquin's Broadway debut in the revival of Death of A Salesman. PLUS they debate the meaning of this weekend or next? Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

In this powerful episode of I'm an Artist, Not a Salesman, host Luis Guzman sits down with one of the most inspiring power couples in the health and wellness space: Anthony and Tereza Lolli. This isn't just a conversation about losing weight—it's about reclaiming life, rebuilding love, and redefining health from the inside out. Together, the Lollis have gone from struggling with obesity and burnout to becoming leaders in the biohacking movement, transforming not only their own lives but also creating a ripple effect that now reaches families, entrepreneurs, and creatives around the world.Anthony Lolli, once a 330-pound real estate mogul, opened up about his painful but transformative journey from “Fat Lolli to Six-Pack Lolli,” a change that required more than gym sessions and green juices. It was a full lifestyle pivot fueled by purpose, faith, and family. Meanwhile, Tereza Lolli, founder of Biohack Yourself, producer, and long-time health researcher, reveals how her passion for functional medicine, healing through nutrition, and hands-on parenting led to some of the most important breakthroughs in their family's health—especially for their two children.This episode covers everything from love as a catalyst for change to running a marriage like a business. Anthony and Tereza get real about what it takes to stay united when life gets messy, dreams get bigger, and health becomes non-negotiable.What you'll hear in this episode:The pivotal moment when Anthony realized his health wasn't just his problem—it was his family's burdenHow Tereza helped uncover hidden health issues in their children and biohacked their way to healingThe business strategy behind building a media empire rooted in wellness and integrityWhy love, admiration, and planning like an architect are the foundation of their marriageThe story behind Biohack Yourself and how it became the largest health media platform in its spaceHow they approach parenting, productivity, and partnership with intention and structureThe dark side of dental health and the biohacking techniques they swear by todayTheir upcoming documentaries, including Shield and The New Woo, and what they're doing to change the health conversation around the worldThe Lollis don't hold back. Whether it's the raw truth about failed surgeries, emotional burnouts, or discovering mold infections in their home that affected their kids' health, every story is grounded in honesty, humility, and a deep drive to grow.They also dive into how biohacking isn't just about cryo chambers and supplements—it's about self-responsibility, education, and long-term strategy. From tracking genetics to filtering their environment, the Lollis share the real tools and mindsets that helped them stay on track and build something truly impactful.You'll walk away with:A deeper understanding of how biohacking applies to families—not just athletes or CEOsReal talk on how to navigate marriage and business when health is on the lineTips on parenting with intention in a world full of toxic noiseInsight into how functional medicine, dental health, and lifestyle changes all work togetherMotivation to treat your body and your life like the biggest project you'll ever buildWhether you're struggling with burnout, feeling disconnected in your relationships, or just want to feel better and live longer, this episode is packed with takeaways that hit the heart and the head. It's not about perfection—it's about progress, and doing it with people you love.Want more from the Lollis?Check out BiohackYourself.com to watch their documentaries, read their magazine, or learn more about their events. You can follow Anthony Lolli and Tereza Lolli on Instagram, or connect through Biohack Yourself Media to get the latest on their upcoming premieres and releases.Love what you heard?Don't forget to subscribe to I'm an Artist, Not a Salesman on Apple Podcasts, Spotify, or YouTube.

(0:00) Coming at you from the Seahawks facility(0:40) Leonard Williams(14:20) Jaxon Smith-Njigba Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

TGIF. We start the show with tales of using the counterfeit cash to romance strippers and the guy who pretended to be an FBI agent to bust out Luigi Mangione. We talk age gap relationships ahead of the new Netflix dating show and have Rage Friday a plenty. Anthony makes Cass play the Synonym Game, we learn about Damar Hamlin’s condom choice, and have a little more Ill-Advised News as we head into the weekend. Support the show and follow us here Twitter, Insta, Apple, Amazon, Spotify and the Edge! See omnystudio.com/listener for privacy information.

Rover offers to buy JLR a new astronaut suit set. Ear catching names. Duji refuses to have her mom move in with her. Rover's cooktop doesn't work at the condo. Salesman is suing Tom Ford after he alleges his boss was engaging in sexual acts and intimate photos with VIP clients. 

Rover offers to buy JLR a new astronaut suit set. Ear catching names. Duji refuses to have her mom move in with her. Rover's cooktop doesn't work at the condo. Salesman is suing Tom Ford after he alleges his boss was engaging in sexual acts and intimate photos with VIP clients. Fake news stories. A man was arrested after he sprayed Minnesota Representative Ilhan Omar in the face with an unknown substance. Chrissy Teigen announced on her social media that she has been sober for 53 days. Duji claims she has never partaken in dry January. JLR and his wife have been sleeping in bed together for months. The Browns cannot find a replacement head coach. Writing an essay for a job interview. Billionaires can get away with rub and tug. Superbowl picks. Paparazzi. Gia's friends want Rover to buy her Harry Styles tickets for her 16th birthday. Did JLR run into something with his car? A man running for Ohio Attorney General claims he will kill Donald Trump.

Rover offers to buy JLR a new astronaut suit set. Ear catching names. Duji refuses to have her mom move in with her. Rover's cooktop doesn't work at the condo. Salesman is suing Tom Ford after he alleges his boss was engaging in sexual acts and intimate photos with VIP clients. See omnystudio.com/listener for privacy information.

Rover offers to buy JLR a new astronaut suit set. Ear catching names. Duji refuses to have her mom move in with her. Rover's cooktop doesn't work at the condo. Salesman is suing Tom Ford after he alleges his boss was engaging in sexual acts and intimate photos with VIP clients. Fake news stories. A man was arrested after he sprayed Minnesota Representative Ilhan Omar in the face with an unknown substance. Chrissy Teigen announced on her social media that she has been sober for 53 days. Duji claims she has never partaken in dry January. JLR and his wife have been sleeping in bed together for months. The Browns cannot find a replacement head coach. Writing an essay for a job interview. Billionaires can get away with rub and tug. Superbowl picks. Paparazzi. Gia's friends want Rover to buy her Harry Styles tickets for her 16th birthday. Did JLR run into something with his car? A man running for Ohio Attorney General claims he will kill Donald Trump.See omnystudio.com/listener for privacy information.

Sometimes dumb lightning strikes twice. This guy is one of the most creative con men we've covered here at Lil Stinkers. We consider ourselves grifter connoisseurs and this flim-flammer is just tops. Support Lil Stinkers at  https://www.patreon.com/lilstinkers to get every episode AD FREE and a week early PLUS weekly bonus episodes. Get your Lil Stinkers merch today at https://www.lilstinkerspod.com  Get 60% off your first box at http://Tempomeals.com/STINKERS 

In this gripping, brutally honest episode of I'm an Artist, Not a Salesman, Luis Guzman sits down with reality TV icon Renee Graziano—and nothing is off limits. Best known from Mob Wives, Renee has lived through a storm of public scrutiny, personal battles, and deeply private traumas. But today? She's standing in her truth. This episode is not about the glamor of TV. It's about the real woman behind it all—the one who's fought addiction, heartbreak, betrayal, and years of internal struggle just to sit here and tell the story.If you're looking for a surface-level conversation, this ain't it.This is a raw, reflective, and surprisingly hilarious deep-dive into the life of a woman who's been through hell and decided to redecorate.Renee opens up about how she went from champagne and cocaine to a quiet life of sobriety, celibacy, and self-awareness. She shares how trauma shaped her identity, how she lost nearly everything—including her sense of self—and how she's rebuilding her life brick by brick with therapy, God, and a little bit of Prozac-fueled peace.We talk about:The unexpected addiction that started long before drugs: powerGrowing up with a father in the mob and what that really looked like behind closed doorsWhy her title as Anthony's daughter felt more important than being a motherThe toxic relationships that almost destroyed her—and the moment she finally said enoughHow losing 50+ pounds and gaining clarity helped her fall back in love with herselfThrough laughter and tears, Renee reflects on the harsh lessons that came from being on reality TV while quietly spiraling behind the scenes. She gets real about the damage that Xanax, secrecy, and shame did to her—and why she's finally done running from the mirror.You'll hear stories of violence, betrayal, mental breakdowns, and—somehow—still walk away feeling hope. Luis creates a space where Renee opens up like never before, from the trauma of a sexual assault while hospitalized to the pain of losing her father's letters and keepsakes to someone she once trusted.Highlights from the episode include:The chilling story of Renee's ex-husband wearing a wire while sleeping in the same bed as herWhat it's like dating as a well-known mob daughter—and why Renee's over itThe immersive mob-themed dinner show “Married by the Mob” and why it's her way of taking power backWhy she believes God kept her alive—and what she's doing with her second (okay, maybe eighth) chanceThere's no performance here. Just one woman, unfiltered, unpolished, and unapologetically transparent about the mess, the beauty, and the weird in-between of survival and self-discovery.Whether you're an artist, a recovering perfectionist, or just someone who's ever felt like a mess in a world that rewards masks, this episode will hit you in the gut and maybe even make you laugh while you're crying.Want more from Renee Graziano? You can catch her performing in Married by the Mob—an immersive wedding experience like no other—February 13–15 at the Avenel Performing Arts Center. And if you're in the skincare game, check out her brand Bad Body Butter—because healing is an inside and outside job.Let's keep this conversation going:Follow Luis Guzman on all platforms: @imanartistnotasalesmanSubscribe to the I'm an Artist, Not a Salesman YouTube channel for more raw and real episodes.Share this episode with someone who needs to be reminded that they're not alone—and that starting over doesn't mean you've failed.If this conversation moved you, challenged you, or made you think differently about your own story, drop us a review or a DM. We read them all. This podcast is for the misfits, the creatives, the comeback kids—and the ones still finding their way back home.

Let me introduce you to David Haubein. A natural storyteller that has lived an interesting life. Salesman, farmer, rancher, conservationist, plant builder, and innovator throughout, David shares a lot of insights into the world of modern regenerative farming. I've known David for almost 40 years, and we had a great conversation that I am proud to share with you. We are cleared for takeoff.

Don Dubuc's Bad Bot of the Week.

In this episode of the Loveall Sales Podcast, I sit down with Lincoln—a leader I've looked up to for years because of one thing you can't fake: positivity backed by results.We talk about real life…not the Instagram version.Lincoln opens up about going from Army Ranger to being homeless for 9 months, sleeping in a smashed '87 Chevy Celebrity…to grinding his way into a machine shop, becoming a manager, and eventually taking a leap into the car business—where he became Salesman of the Month for 19 straight months and never looked back.From there, we break down what separates average stores from elite ones:Why process beats “winging it” every timeHow to get people to see their potential (and stop living at their ceiling)The truth about work-life balance when you're brokeWhat Lincoln looks for when promoting someone: production + leadership before the titleWhy he still sits on the desk, takes phone ups, and believes in TOsHow he motivates performance—like his famous Rolex challenge for 350+ carsThe exact standards he uses daily: cars sold, appts set, live connects, activity that mattersIf you're a salesperson, manager, or future GM who wants to build a career you're proud of, this one is pure fuel.Want my help building your process + daily activity plan?DM me “PODCAST” on Instagram and I'll send you my framework.

254: In this episode, I'm talking with Claude Diamond, a legendary sales coach, real estate investor, former attorney, and the creator of the G.U.T.S. Sales Method. In this conversation, we dive deep into how real persuasion works in real estate and why most land investors get it completely wrong.(Show Notes: REtipster.com/254)We covered the real psychology of sales: why most training misses the mark, how to turn prospects into the salesperson, the power of silence, emotional decision-making, qualifying fast with a 3-minute timer, and why enthusiasm + value beats every script. Claude shares raw stories, role-plays, and his “Gut Selling” philosophy that's made him financially free and is still helping investors worldwide.If you're tired of rejection, shiny-object syndrome, or just sending more mail without better conversations, this is the one you've been waiting for.

What happens when you walk away from a high-profile, Emmy-winning career and decide to tell the truth—your truth—for the first time?In this powerful episode of I'm an Artist, Not a Salesman, host Luis Guzman sits down with Jamie Tompkins, a former Fox 13 Seattle news anchor turned truth-teller, survivor, and soon-to-be podcast host of Respectfully. Known for her poise in front of the camera, Jamie opens up about what was really happening behind the scenes: from the polished lights of broadcast journalism to the shadows of sexual harassment, burnout, and betrayal within a police department she once believed in.Jamie's story is more than a career pivot—it's a deep, unfiltered look at identity, trauma, strength, and what it really takes to reclaim your voice in a world that constantly tries to mute it.In this episode, we explore:Jamie's rise through the ranks of broadcast journalism and her decade-long career with Fox 13 SeattleThe intense public scrutiny and coded “feedback” women often face in the media industryHow being from New Jersey gave her the grit to push back against workplace culture that tried to flatten her personalityHer transition from the newsroom to working with the Seattle Police Department as Chief of Staff—and how that journey quickly unraveledThis is not just another career story. It's about:Toxic work environments and how they're often disguised as “opportunity”Gaslighting, sexual harassment, and how even in positions of power, women are forced to fight twice as hard to be taken seriouslyLeaving behind a life that looked glamorous on the outside but was quietly destroying her from withinCreative rebirth and why podcasting—on her own terms—was the outlet she didn't know she neededJamie shares the uncomfortable but necessary truth about why she walked away from it all, how she's healing through honesty, and what her upcoming podcast Respectfully will stand for. She reflects on therapy, fitness, family, and the radical act of saying no more—no more performance, no more compliance, no more pretending.What's especially striking is her clarity. Jamie doesn't speak in platitudes—she speaks from the grit of lived experience. She's unafraid to name names, call out hypocrisy, and discuss the ripple effect of trauma in professional and personal relationships. But this episode is not about bitterness. It's about freedom.Highlights include:Her early roots in musical theatre and how a chance opportunity turned into a decades-long careerHer surprising detour into police department leadership—and what she didn't see comingThe emotional toll of workplace harassment and the strength it took to walk awayFinding joy again in things like music, dogs, family holidays, and quiet momentsWhy going to the gym isn't just physical—it's mental survivalWhether you're a creative, a professional navigating burnout, or someone recovering from toxic environments, this episode will hit home. It's raw, it's real, and it's a reminder that sometimes, your second act is your best one yet.Want more from this episode? Here's how to stay connected:Follow the podcast on Spotify, Apple Podcasts, and YouTube by searching I'm an Artist, Not a SalesmanStay in the loop with host Luis Guzman on Instagram and TikTok: @ImAnArtistNotASalesmanLearn more about Jamie Tompkins and her upcoming podcast Respectfully by keeping an eye on her socials and future announcementsIf this episode resonated, share it with someone who needs to hear that it's never too late to start overYour story doesn't end at burnout. It starts when you take the mic back.

Today, we tackle modern Christianity's lightning rod—Joel Osteen. Love him or loathe him, you can't ignore him. He's built the biggest church in America, filled arenas, sold millions of books, and smiled for the cameras. But beneath the surface? Criticism. Controversy. Accusations of watered-down doctrine. “Encouragement over repentance.” “Positivity over discipleship.” The world applauds. Many believers balk.In a culture obsessed with comfort, Paul M. Neuberger asks: Are we trading truth for popularity? Are we making disciples or just fans? Because Jesus is still Lord when the crowds cheer and when the world mocks.So what will you do when your moment of truth arrives? Will you stand for Scripture or drift with the crowd?Get ready, gentlemen. This one's raw, real, and rooted in truth."Enter through the narrow gate. For wide is the gate and broad is the road that leads to destruction, and many enter through it. 14 But small is the gate and narrow the road that leads to life, and only a few find it." –Matthew 7:13-14Episode Highlights:08:11 - Because in the kingdom of God, charisma is not calling, success is not sanctification, and popularity is never proof of truth.43:10 - A gospel that promises blessing without repentance is incomplete. A Christ who saves without commanding obedience is misrepresented. A Christianity that avoids offense at all costs will eventually lose its power.48:03 - At C-Suite for Christ, we're going to continue to say the hard things, confront the uncomfortable truths, and stand unapologetically on the Word of God. Not because it's easy, not because it's popular, but because it's right.Connect with Paul M. NeubergerWebsite

Here's a question I get asked all the time: What's the single biggest misconception holding salespeople back? That question came from a room full of college students at BYU-Idaho, ages 19 to 24, all exploring sales careers. And my answer is the same whether you're just starting out or you've been in the game for decades. The biggest lie about selling is this: Good salespeople have the gift of gab. You know the stereotype. The smooth talker. The fast-talking closer. The person who can talk their way into or out of anything. We've all seen it in movies, TV shows, and plays like Death of a Salesman. It's been around for a century, and it's completely wrong. The Truth Top Performers Know Here's what the best salespeople actually do: They listen. The greatest salespeople aren't the best talkers. They're the best listeners. They're individuals who know how to ask the right questions and know how to ask questions in a way that create these aha moments for prospects and customers. They understand something fundamental that average performers miss: Closing happens in the discovery process, not at some magical point where you lay the hammer down and ask for a sale. Think about that for a second. The deal isn't won when you deliver your polished presentation. It's not won when you overcome the final objection. It's won in those early conversations when you're asking questions, uncovering pain, and building relationships. Why the Stereotype Persists The negative stereotype of salespeople has been pervasive in society for generations. Part of it's because no one really likes to be sold. And there are salespeople who are bad. They talk at people instead of actually taking the time to listen. But here's the reality: Lots of professions have negative stereotypes. Lawyers. Politicians. Salespeople aren't the worst of them. And here's the good side of that negative stereotype: Nobody wants to be in sales. So if you're in sales, you're making a whole lot more money than anybody else. That's a good thing. The people who look at the profession of selling and say "I could never do that" or "I could never interrupt people or take that type of rejection" are the same people who will never experience the income, freedom, and impact that comes with being great at sales. The Power of Questions When you shift your mindset from talking to listening, everything changes. Instead of thinking about what you're going to say next, you're focused on what your prospect is telling you. You're asking questions like: What's driving this decision right now? What happens if you don't solve this problem? Who else is involved in this decision? What does success look like for you? These aren't manipulative tricks. They're genuine attempts to understand your prospect's world, their challenges, and their goals. And when you do that well, you create trust. You build relationships. You position yourself as a partner, not a vendor. The discovery questions you ask matter more than any pitch you could ever deliver. Handling objections starts with asking the right questions early in the process. Who's Really in Control Here's the truth: The person in control of the conversation is rarely the talker. In fact, it's almost always the listener. If you want to move deals, stop performing and start discovering. Build your calls around three things: smart opening questions, deep follow-ups, and crisp advances to the next step. You'll gain insights, not just air time. And insights are what close deals. Success in sales isn't about being the loudest voice in the room. It's about being the most curious, the most engaged, and the most intentional about moving the sale forward. What You Need to Unlearn Right Now If you've been operating under the assumption that you need to be a great talker to succeed in sales, unlearn that immediately. Replace it with this truth: You need to be a great asker and an even better listener. Your job isn't to convince people. Your job is to help people convince themselves by asking questions that lead them to their own conclusions. When prospects discover the solution themselves through your questioning, they own it. They believe it. And they buy. That's the relationship you build through asking questions. That matters the most. The Bottom Line Stop trying to out-talk your prospects. Stop preparing 47-slide presentations. Stop thinking that your job is to educate and inform. Your job is to discover. To listen. To understand. To ask the questions that help your prospects see clearly what they need to do next. The best salespeople aren't the smooth talkers. They're the smart listeners who know that the power of the sale is in the questions they ask, not the words they say. If you master this one fundamental truth, you'll close more deals than all the gift-of-gab salespeople combined. And you'll build a career based on relationships, trust, and value instead of pressure, manipulation, and empty talk. That's how you win in sales. That's how you build lasting customer relationships. And that's how you separate yourself from everyone else who's still chasing the lie. Ready to Master the Art of Prospecting? Join us at Sales Gravy Live: Fanatical Prospecting Bootcamp in Atlanta, GA on March 10-11th. Two days of intensive training where you'll learn the proven systems and techniques that top performers use to fill their pipelines and crush their quotas. Stop guessing. Start prospecting like a pro. Register now at salesgravy.com/live.

Here's a question I get asked all the time: What's the single biggest misconception holding salespeople back? That question came from a room full of college students at BYU-Idaho, ages 19 to 24, all exploring sales careers. And my answer is the same whether you're just starting out or you've been in the game for decades. The biggest lie about selling is this: Good salespeople have the gift of gab. You know the stereotype. The smooth talker. The fast-talking closer. The person who can talk their way into or out of anything. We've all seen it in movies, TV shows, and plays like Death of a Salesman. It's been around for a century, and it's completely wrong. The Truth Top Performers Know Here's what the best salespeople actually do: They listen. The greatest salespeople aren't the best talkers. They're the best listeners. They're individuals who know how to ask the right questions and know how to ask questions in a way that create these aha moments for prospects and customers. They understand something fundamental that average performers miss: Closing happens in the discovery process, not at some magical point where you lay the hammer down and ask for a sale. Think about that for a second. The deal isn't won when you deliver your polished presentation. It's not won when you overcome the final objection. It's won in those early conversations when you're asking questions, uncovering pain, and building relationships. https://www.youtube.com/watch?v=h6xiSz9dGkI Why the Stereotype Persists The negative stereotype of salespeople has been pervasive in society for generations. Part of it's because no one really likes to be sold. And there are salespeople who are bad. They talk at people instead of actually taking the time to listen. But here's the reality: Lots of professions have negative stereotypes. Lawyers. Politicians. Salespeople aren't the worst of them. And here's the good side of that negative stereotype: Nobody wants to be in sales. So if you're in sales, you're making a whole lot more money than anybody else. That's a good thing. The people who look at the profession of selling and say, "I could never do that" or "I could never interrupt people or take that type of rejection," are the same people who will never experience the income, freedom, and impact that comes with being great at sales. The Power of Questions When you shift your mindset from talking to listening, everything changes. Instead of thinking about what you're going to say next, you're focused on what your prospect is telling you. You're asking questions like: What's driving this decision right now? What happens if you don't solve this problem? Who else is involved in this decision? What does success look like for you? These aren't manipulative tricks. They're genuine attempts to understand your prospect's world, their challenges, and their goals. And when you do that well, you create trust. You build relationships. You position yourself as a partner, not a vendor. The discovery questions you ask matter more than any pitch you could ever deliver. Handling objections starts with asking the right questions early in the process. Who's Really in Control Here's the truth: The person in control of the conversation is rarely the talker. In fact, it's almost always the listener. If you want to move deals, stop performing and start discovering. Build your calls around three things: smart opening questions, deep follow-ups, and crisp advances to the next step. You'll gain insights, not just airtime. And insights are what close deals. Success in sales isn't about being the loudest voice in the room. It's about being the most curious, the most engaged, and the most intentional about moving the sale forward. What You Need to Unlearn Right Now If you've been operating under the assumption that you need to be a great talker to succeed in sales, unlearn that immediately. Replace it with this truth: You need to be a great asker and an even better listener. Your job isn't to convince people. Your job is to help people convince themselves by asking questions that lead them to their own conclusions. When prospects discover the solution themselves through your questioning, they own it. They believe it. And they buy. That's the relationship you build through asking questions. That matters the most. The Bottom Line Stop trying to out-talk your prospects. Stop preparing 47-slide presentations. Stop thinking that your job is to educate and inform. Your job is to discover. To listen. To understand. To ask the questions that help your prospects see clearly what they need to do next. The best salespeople aren't the smooth talkers. They're the smart listeners who know that the power of the sale is in the questions they ask, not the words they say. If you master this one fundamental truth, you'll close more deals than all the gift-of-gab salespeople combined. And you'll build a career based on relationships, trust, and value instead of pressure, manipulation, and empty talk. That's how you win in sales. That's how you build lasting customer relationships. And that's how you separate yourself from everyone else who's still chasing the lie. Visit salesgravy.com/live to see all of our upcoming virtual and in-person events.

What happens when a former SWAT officer, detective, and BMX pro turns his full attention to health, fitness, and hormone optimization? In this powerful episode of I'm an Artist, Not a Salesman, host Luis Guzman sits down with David Lindberg—CEO and founder of Hanobi, a cutting-edge peptide and hormone research company based in Las Vegas. What starts as a deep dive into wellness turns into a layered conversation about resilience, reinvention, and building something real from the ground up.From small-town Colorado roots to law enforcement leadership and now the wellness space, David's story is packed with real-world experience, transparency, and grit. He opens up about what it meant to walk away from a 15-year career in policing, how injury and betrayal forced him to start over, and why his passion for health and biohacking has become more than just a business—it's a mission.In this episode, we cover:David's journey from cop to CEO and why he left law enforcement behindHow a career-ending injury became the spark that launched HanobiWhat most people get wrong about hormone therapy, TRT, and peptidesThe real differences between research-grade supplements and what's sold onlineWhy integrity and transparency are the backbone of his business modelThe dark side of the wellness industry, from shady clinics to misinformationDavid's thoughts on the growing GLP-1 wave (yes, we're talking Ozempic, Manjaro, and more)Tips for anyone looking to start a health-based business or launch their own hormone clinicHow Hanobi Research, Clinic Protocols, and Biohack Team are designed to work togetherWhether you're deep into functional medicine, building your own brand, or just trying to understand what peptides even are, this episode delivers honest insight from someone who's lived multiple lives and built a company with real purpose.A few standout takeaways from David:“Respect in any space—law enforcement or entrepreneurship—starts with being a human being first.”“Don't put something in your body if you don't know where it's coming from.”“There's no loyalty in business unless you build it yourself.”“Everyone wants results, but not everyone's ready to change their lifestyle.”This conversation goes far beyond health trends—it's about the long game. The slow climb. The moments no one sees when everything falls apart and you still find a way forward. Whether you're here for the business gems, the real talk on wellness, or just a damn good comeback story, this episode delivers.Where to find David Lindberg and Hanobi:Website: hanobi.comConsulting: clinicprotocols.comCommunity: biohackteam.comPersonal Brand: davidlindberg.comLet's stay connected.If this episode moved you, inspired you, or just made you curious, we'd love your support. Subscribe on Spotify, Apple Podcasts, and YouTube by searching for I'm an Artist, Not a Salesman. For behind-the-scenes content and future drops, follow us on Instagram at @ImAnArtistNotASalesman. And if you're ready to start your own podcast or level up your production game, check out our home base at FlexworkStudios.com.This show is more than a platform—it's a community. Thanks for riding with us. Let's build something that lasts.

In this episode of Gangland Wire, Gary Jenkins sits down with Bob Cooley, the once–well-connected Chicago lawyer who lived at the center of the city's most notorious corruption machine. After years out of the public eye, Cooley recently resurfaced to revisit his explosive memoir, When Corruption Was King—and this conversation offers a rare, firsthand look at how organized crime, politics, and the court system intersected in Chicago for decades. Cooley traces his journey from growing up in a police family to serving as a Chicago police officer and ultimately becoming a criminal defense attorney whose real job was quietly fixing cases for the Chicago Outfit. His deep understanding of the judicial system made him indispensable to mob-connected power brokers like Pat Marcy, a political fixer with direct access to judges, prosecutors, and court clerks. Inside the Chicago Corruption Machine Cooley explains how verdicts were bought, cases were steered, and justice was manipulated—what insiders called the “Chicago Method.” He describes his relationships with key figures in organized crime, including gambling bosses like Marco D'Amico and violent enforcers such as Harry Aleman and Tony Spilotro, painting a chilling picture of life inside a world where loyalty was enforced by fear.   As his role deepened, so did the psychological toll. Cooley recounts living under constant threat, including a contract placed on his life after he refused to betray a fellow associate—an event that forced him to confront the cost of the life he was leading. Turning Point: Becoming a Federal Witness The episode covers Cooley's pivotal decision in 1986 to cooperate with federal authorities, a move that helped dismantle powerful corruption networks through FBI Operation Gambat. Cooley breaks down how political connections—not just street-level violence—allowed the Outfit to operate with near-total impunity for so long.   Along the way, Cooley reflects on the moral reckoning that led him to turn on the system that had enriched and protected him, framing his story as one not just of crime and betrayal, but of reckoning and redemption. What Listeners Will Hear How Bob Cooley became the Outfit's go-to case fixer The role of Pat Marcy and political corruption in Chicago courts Firsthand stories involving Marco D'Amico, Harry Aleman, and Tony Spilotro The emotional and psychological strain of living among violent criminals The decision to cooperate and the impact of Operation Gambat Why Cooley believes Chicago's corruption endured for generations Why This Episode Matters Bob Cooley is one of the few people who saw the Chicago Outfit from inside the courtroom and the back rooms of power. His story reveals how deeply organized crime embedded itself into the institutions meant to uphold the law—and what it cost those who tried to escape it.   This episode sets the stage for a deeper follow-up conversation, where Gary and Cooley will continue unpacking the most dangerous and revealing moments of his life. Resources   Book: When Corruption Was King by Bob Cooley Hit me up on Venmo for a cup of coffee or a shot and a beer @ganglandwire Click here to “buy me a cup of coffee” Subscribe to the website for weekly notifications about updates and other Mob information. To go to the store or make a donation or rent Ballot Theft: Burglary, Murder, Coverup, click here To rent ‘Brothers against Brothers’ or ‘Gangland Wire,’ the documentaries click here.  To purchase one of my books, click here. 0:03 Prelude to Bob Cooley’s Story 1:57 Bob Cooley’s Background 5:24 The Chicago Outfit Connection 8:24 The Turning Point 15:20 The Rise of a Mob Lawyer 23:54 A Life of Crime and Consequences 26:03 The Incident at the Police Station 50:27 The Count and His Influence 1:19:51 The Murder of a Friend 1:35:26 Contracts and Betrayal 1:40:36 Conclusion and Future Stories Transcript [0:00] Well, hey guys, this is a little prelude to my next story. Bob Cooley was a Chicago lawyer and an outfit associate who had been in, who has been in hiding for many years. I contacted him about six or seven years ago when I first started a podcast, I was able to get a phone number on him and, and got him on the phone. He was, I think it was out in the desert in Las Vegas area at the time. And at the time he was trying to sell his book when corruption was king to a movie producer And he really didn’t want to overexpose himself, and they didn’t really want him to do anything. And eventually, COVID hit, and the movie production was canceled. And it was just all over. There were several movie productions were canceled during COVID, if I remember right. A couple people who I have interviewed and had a movie deal going. Well, Bob recently remembered me, and he contacted me. He just called me out of the clear blue, and he wanted to revive his book and his story. He’s been, you know, way out of the limelight for a long time. And so I thought, well, I always wanted to interview this guy because he’s got a real insider’s knowledge to Chicago Outfit, the one that very few people have. [1:08] You know, here’s what he knows about. And he provides valuable insight into the inner workings of the Outfit. And I don’t mean, you know, scheming up how to kill people and how to do robberies and burglars and all that. But the Chicago court system and Chicago politics, that’s a, that’s a, the, the mob, a mafia family can’t exist unless they have connections into the political system and especially the court system. Otherwise, what good are they? You know, I mean, they, they just take your money where they give you back. They can’t protect you from anybody. [1:42] So I need to give you a little more of the backstory before we go on to the actual interview with Bob, because he kind of rambles a little bit and goes off and comes back and drops [1:54] names that we don’t have time to go into explanation. So here’s a little bit of what he talked about. He went from being, as I said before, Chicago Outfit’s trusted fixer in the court system, and he eventually became the government star witness against them. He’s born, he’s about my age. He was born in 1943. He was an Irish-American police family and came from the Chicago South side. He was a cop himself for a short period of time, but he was going to law school while he was a policeman. And once he started practicing law, he moved right into criminal law and into first ward politics and the judicial world downtown. [2:36] And that’s where the outfit and the old democratic machine intersected. He was in a restaurant called Counselor’s Row, which was right down. Bob had an office downtown. Well, he’s inside that system, and he uses his insider’s knowledge to fix cases. Once an outfit started noticing him that he could fix a case if he wanted to, he immediately became connected to the first ward power broker and outfit political conduit, a guy named Pat Marcy. Pat Marcy knew all the judges He knew all the court clerks And all the police officers And Bob was getting to know him too During this time But Bob was a guy who was out in He was a lawyer And he was working inside the court system Marcy was just a downtown fixer. [3:22] But Bob got to where he could guarantee acquittals or light sentences for whoever came to him with the right amount of money, whether it be a mobster or a bookmaker or a juice loan guy or a crap politician, whoever it was, Bob could fix the case. [3:36] One of the main guys tied to his work he was kind of attached to a crew everybody’s owned by somebody he was attached to the Elmwood Park crew and Marco D’Amico who was under John DeFranco and I can’t remember who was before DeFranco, was kind of his boss and he was a gambling boss and Bob was a huge gambler I mean a huge gambler and Bob will help fix cases for some notorious people Really, one of the most important stories that we’ll go into in the second episode of this is Harry the Hook Aleman. And he also helped fix the case for Tony Spolatro and several others. He’s always paid him in cash. And he lived large. As you’ll see, he lived large. And he moved comfortably between mobsters and politicians and judges. And he was one of the insiders back in the 70s, 60s or 70s mainly. He was an insider. But by the 80s, he’s burned out. He’s disgusted with himself. He sees some things that he doesn’t like. They put a contract out on him once because he wouldn’t give somebody up as an informant, and he tipped one of his clients off that he was going to come out that he was an informant, and the guy was able to escape, I believe. Well, I have to go back and listen to my own story. [4:53] Finally in 1986 he walked unannounced they didn’t have a case on him and he walked unannounced in the U.S. Courthouse and offered himself up to take down this whole Pat Marcy and the whole mobster political clique in Chicago and he wore a wire for FBI an operation called Operation Gambat which is a gambling attorney because he was a huge gambler [5:17] huge huge gambler and they did a sweeping probe and indicted tons of people over this. So let’s go ahead and listen to Robert Cooley. [5:31] Uh, he, he, like I said, he’s a little bit rambling and a little bit hard to follow sometimes, but some of these names and, and, uh, and in the first episode, we’ll really talk about his history and, uh, where he came from and how he came up. He’ll mention somebody called the count and I’ll do that whole count story and a whole nother thing. So when he talks about the count, just disregard that it’ll be a short or something. And I got to tell that count story. It’s an interesting story. Uh, he, he gets involved with the only own, uh, association, uh, and, uh, and the, uh, Chinese Tong gang in, uh, Chicago and Chicago’s Chinatown. Uh, some of the other people he’ll talk about are Marco D’Amico, as I said, and D’Amico’s top aide, Rick Glantini, uh, another, uh, connected guy and worked for the city of Chicago is Robert Abinati. He was a truck driver. [6:25] He was also related to D’Amico and D’Amico’s cousin, former Chicago police officer Ricky Borelli. Those are some of the names that he’ll mention in this. So let’s settle back and listen to Bob Cooley. Hey, all you wiretappers. Good to be back here in studio gangland wire. This is Gary Jenkins, retired Kansas City Police Intelligence Unit detective. And, you know, we we deal with the mob here once a week, sometimes twice a week on the podcast. And I have a special guest that hadn’t been heard from for a while. And, you know, to be honest, guys, I’ve kind of gotten away from the outfit. I’ve been doing a lot of New York stuff and Springfield, Massachusetts and all around the country. And I kind of got away from Chicago. And we’re going back to Chicago today. And I’m honored that Bob Cooley got hold of me. Now, you may not know who Bob Cooley was, but Bob Cooley was a guy. He was a mob lawyer in Chicago, and he really probably, he heard him as much as anybody’s ever heard him, and he did it all of his own accord. He was more like an undercover agent that just wasn’t officially designated an FBI agent rather than an informant. But anyhow, welcome, Bob. [7:37] Hello. Nice meeting you. Nice to meet you. And I’ve talked to you before. And you were busy before a few years ago. And you were getting ready to make some movies and stuff. And then COVID hit and a lot of that fell through. And that happened to several people I’ve talked to. You got a lot in common with me. I was a Kansas City policeman. And I ended up becoming a lawyer after I left the police department. And you were a Chicago copper. And then you left the police department a little bit earlier than I did and became a lawyer. And, and Bob, you’re from a Chicago police family, if I remember right. Is that correct? Oh, police, absolute police background, the whole family. Yes. Yeah. Your grandfather, your grandfather was killed in the line of duty. Is that right? [8:25] Both of my grandfathers were killed in the line of duty. Wow. In fact, that’s one of the reasons why I eventually did what I did. I was very, very close with my dad. Yeah, and your dad was a copper. [8:38] He was a policeman, yeah. And in fact, you use that term. I, for many, many years, wouldn’t use that word. It just aggravated me when people would use the word copper. To me, it would show disrespect. Oh, really? I said to us in Kansas City, that’s what we call each other, you know, among coppers. Oh, I know. I know. But I know. But, you know, I just, for whatever reason, one of the things that aggravated me the most, in fact, when I was being cross-examined by this piece of shit, Eddie Jensen, the one I wrote about in my book that was, you know, getting a lot of people killed and whatever. And he made some comment about my father. and I got furious and I had to, you know, my father was unbelievably honest as a policeman. [9:29] Everybody loved him because they didn’t have to share, uh, you know, but he was a detective. He had been written up many times in true and magazines and these magazines for making arrests. He was involved in the cartage detail. He was involved in all kinds of other things, but honest as the day is long. And, and, um, but, uh, again, the, uh, my father’s father was, uh, was a policeman and he was killed by a member of the Capone gang. And, uh, and when he was killed, after he was killed. [10:05] The, uh, well, after he got shot, he got shot during a robbery after he got shot, he was in the hospital for a while. And then he went, then he went back home. He went back home to his, uh, you know, to his house, uh, cause he had seven kids. He had a big family too. And, uh, stayed with his, you know, with his wife and, and, and eventually died. And when he died they had a very mediocre funeral for him. They had a bigger, much bigger funeral when Al Capone’s brother died. But during that time when I was a kid when I was about 13, 12, 13 years old, I worked among other places at a grocery store where I delivered to my grandmother. My grandmother lived in South Park which later became Mark Luther King Drive. She lived a very, very meager life because she basically had nothing. [11:09] What they gave them for the, at that time, what they gave them for the police department was a portion of the husband’s salary when they died, whatever. It was never a big deal like it is now, you know, like it is now when policemen get killed in the line of duty. and I’m thinking at the same time I’m thinking down the road, You know, about certain things from my past did come back to affect me. [11:38] Doing what I was doing, when I got involved, and I got involved absolutely with all these different people. My father hated these people. I didn’t, you know, I didn’t realize how much. I didn’t realize much when I was growing, you know, when I was growing up and whatever. And even when I was practicing law and when I opened up Pratt-Mose, I would have my father and mother come along with other people. And the place was all full of mobsters. I mean, we’re talking about, you know, a lot of Capone’s whole crew. A lot of the gunmen were still alive. In fact, the ones that ran the first award were all gunmen from Capone’s mob. And never said a word, never said a word about it. You know, he met my partner, Johnny Diaco, who was part of the mob, the senator, and whatever colitis could be. My dad, when my dad was dying. [12:38] When my dad was dying, he had what they didn’t call it, but it had to be Alzheimer’s because my dad was a unbelievably, he was a big, strong man, but he was never a fighter, sweet as could be to anybody and everybody. When he started getting bad, he started being mean to my mother and doing certain things. So we finally had to put him into a nursing home. When I went to see him in the nursing, and I had a close relationship with my dad because he saved my life many times when I was a kid. I was involved with stolen cars at school. I should have been thrown out of school. It was Mount Carmel, but he had been a Carmelite, almost a Carmelite priest. [13:25] And whatever, and that’s what kept me from being kicked out of school at Marquette when they were going to throw me out there because I was, again, involved in a lot of fights, and I also had an apartment that we had across the hall from the shorter hall where I was supposed to stay when I was a freshman, and we were throwing huge parties, and they wanted to throw me out of school. My dad came, my dad came and instead of throwing me out, they let me resign and whatever he had done so much, you know, for me. Yeah. [14:00] Now when I, when I meet, when I meet him up in the hospital, I, I came in the first time and it was about maybe 25 miles outside, you know, from where my office was downtown. And when I went in to see him, they had him strapped in a bed because apparently when he initially had two people in the room and when somebody would come in to try to talk to him and whatever, he would be nasty. And one time he punched one of the nurses who was, you know, because he was going in the bed and they wouldn’t, and he wouldn’t let him take him out. You know, I was furious and I had to go, I had to go through all that. And now, just before he died, it was about two or three days before he died, he didn’t recognize anybody except me. Didn’t recognize my mother. Didn’t recognize anybody. Yet when I would come into the room, son, that’s what he always called me, son, when I would come in. So he knew who I basically was. And he would even say, son, don’t let him do this to me when he had to go through or they took out something and he had to wear one. Of those, you know, those decatheters or whatever. Oh, yeah. [15:15] Just before he died, he said to me, he said, son, he said, those are the people that killed my father. He said, and his case was fixed. After, I had never known that. In fact, his father, Star, was there at 11th and State, and I would see it when everyone went in there. Star was up there on the board as if there’s a policeman or a policeman killed in the line of duty. When he told me that it really and I talked to my brother who knew all about all that that’s what happened, the gunman killed him on 22nd street when that happened the case went to trial and he was found not guilty apparently the case was fixed I tell you what talk about poetic justice there your grandson is now in that system of fixing cases. I can’t even imagine what you must have felt like when you learned that at that point in your life. Man, that would be a grief. That would be tough. That’s what eventually made me one day decide that I had to do something to put an end to all that was going on there. [16:25] I’m curious, what neighborhood did you grow up in? Neighborhood identity is pretty strong in Chicago. So what neighborhood do you claim? I grew up in the hood. First place I grew up, my first place when I was born, I was at 7428 South Vernon. Which is the south side, southeast side of the city. I was there until I was in sixth grade. That was St. Columbanus Parish. When I was in sixth grade, we had to move because that’s when they were doing all the blockbusting there in Chicago. That’s when the blacks were coming in. And when the blacks were coming in, and I truly recall, We’ve talked about this many times elsewhere. I remember knocking on the door and ringing the doorbell all hours of the day and night. A black family just moved in down the street. You’ve got to sell now. If you don’t, the values will all go down. And we would not move. My father’s philosophy, we wouldn’t move until somebody got killed in the area. Because he couldn’t afford it. He had nine kids. he’s an honest policeman making less than $5,000 a year. [17:45] Working two, three jobs so we could all survive when he finished up, When he finished up with, when we finally moved, we finally moved, he went to 7646 South Langley. That was, again, further south, further south, and the area was all white at that time. [18:09] We were there for like four years, and about maybe two or three years, and then the blacks started moving in again. The first one moved in, and it was the same pattern all over again. Yeah, same story in Kansas City and every other major city in the United States. They did that blockbusting and those real estate developers. Oh, yeah, blockbusters. They would call and tell you that the values wouldn’t go down. When I was 20, I joined the police department. Okay. That’s who paid my way through college and law school. All right. I joined the police department, and I became a policeman when I was 20. [18:49] As soon as I could. My father was in recruit processing and I became a policeman. During the riots, I had an excuse not to go. They thought I was working. I was in the bar meeting my pals before I went to work. That’s why I couldn’t go to school at that time. But anyhow, I took some time off. I took some time off to, you know, to study, uh, because, you know, I had all C’s in one D in my first, in my first semester. And if you didn’t have a B, if you didn’t have a C average, you couldn’t, you kicked out of school at the end of a quarter. This is law school. You’re going to law school while you’re still an active policeman. Oh yeah, sure. That’s okay. So you work full time and went to law school. You worked full-time and went to law school at the same time. When I was 20, I joined the police department. Okay. That’s who paid my way through college and law school. All right. I joined the police department, and I became a policeman when I was 20, as soon as I could. My father was in recruit processing, and I became a policeman. Yeah, yeah. But anyhow, I went to confession that night. [20:10] And when I went to confession, there was a girl, one of the few white people in the neighborhood, there was a girl who had gone before me into the confessional. And I knew the priest. I knew him because I used to go gambling with him. I knew the priest there at St. Felicis who heard the confessions. And this is the first time I had gone to confession with him even though I knew him. [20:36] And I wanted to get some help from the big guy upstairs. And anyhow, when I leave, I leave about maybe 10 minutes later, and she had been saying her grace, you know, when I left. And when I walked out, I saw she was right across the street from my house, and there’s an alley right there. And she was a bit away from it, and there were about maybe 13, 14, 15 kids. when I say kids, they were anywhere from the age of probably about 15, 16 to about 18, 19. And they’re dragging her. They’re trying to drag her into the alley. And when I see that, when I see that, I head over there. When I get over there, I have my gun out. I have the gun out. And, you know, what the hell is going on? And, you know, and I told her, I told her her car was parked over there. I told her, you know, get out of here. And I’ve got my gun. I’ve got my gun in my hand. And I don’t know what I’m going to do now in terms of doing anything because I’m not going to shoot them. They’re standing there looking at me. And after a little while, I hear sirens going on. [22:00] The Barton family lived across the street in an apartment building, and they saw what was going on. They saw me out there. It was about probably about seven o’clock at night. It was early at night and they put a call in 10-1 and call in 10-1. Assist the officer. Is that a assist the officer? It’s 1031. Police been in trouble. Yeah. And the squad’s from everywhere. Oh yeah. Oh yeah. So you can hear, you can hear them coming. And now one of them says to me, and I know they’re pretty close. One of them says to me, you know, put away your gun and we’ll see how tough you are. And I did. [22:42] Because you know they’re close. And I’m busy fighting with a couple of them. And they start running and I grab onto two of them. I’m holding onto them. I could only hold two. I couldn’t hold anymore. And the next thing I know, I wake up in the hospital about four days later. Wow. What had happened was they pushed me. Somebody, there was another one behind who pushed me right in front of a squad car coming down the street. Oh, shit. Yeah, man. And the car ran completely over me. They pulled me off from under the, just under the back wheels, I was told were right next to, were onto me, blood all over the place. Everybody thought I was dead. Right. Because my brothers, my one brother who was a police kid that, you know, heard all the noise and the family came in. I tried to prostrate my house and they all thought I was dead. But anyhow, I wake up in the hospital about three days later. When I wake up in the hospital, I’m like. [23:54] Every bone of my body was broken. I’m up there like a mummy. And the mayor came to see me. All kinds of people came to see me. They made me into an even bigger star in my neighborhood. The Count lives down the street and is seeing all this stuff about me and whatever. Jumping quickly to another thing, which got me furious. Willie Grimes was the cop that was driving this quad. He was a racist. We had some blacks in the job. He was a total racist. When my brother and when some others were doing their best to try to find these people, he was protecting them. Some of them, if they caught, he was protecting them. [24:48] I was off the job for like nine months when I came back to work. I never came to the hospital to see me. I mean, everybody came. Every day, my hospital went. Because one of the nurses that I was dating, in fact, she was one of those killed. That’s when Richard Speck wound up killing her and some of the others at the same time. It was at the South Chicago Hospital. Holy darn. What they did for me, I had buckets in my womb with ice. We were bringing beer and pizzas and whatever. Every day was like a party in there. When I finally came back to work, it was 11 o’clock at night. I worked out in South Chicago, and I’m sitting in the parking lot, and the media is there. The media, they had all kinds of cameras there. Robert Cooley’s coming back to work after like nine months. They wouldn’t let me go back. [25:51] I’m walking by the squads. And Willie was a big guy. He was probably about 220, a big one of these big muscle builders and all that nonsense. [26:04] He’s sitting in the first car. The cars are all lined up because when we would change, when we would change at like 11 30 uh you know the cars would all be waiting we jumped into the cars and off we go as i’m walking by the car i hear aren’t you afraid to walk in front of my car. [26:26] I look over and he had a distinctive voice i walk over to the car and i reach in and i start punching them, and I’m trying to drag them out of the car. The cameras, the cameras are, you know, they’re all basically inside. They’re all inside. You know, as you walk in there, they’re all inside there. When I do, I eventually walk up there. But the other police came, and they dragged me. They dragged me away, and they brought me in, and whatever. We got transferred out the next day out of the district. And the first policeman I meet is Rick, Rick Dorelli, who’s connected with, who’s a monster. He’s connected with them. And, and he’s the one who told me, he said to me, you know, we played cards and he realized I was a gambler, but I had never dealt with bookmakers. And he said, he says, yeah, you want to make some money? You want to make some easy money? Well, yeah, sure. You know, uh, you know, and thinking that’s, you know, working security or something like that, like I had done back in Chicago, you know, like I had done on the south side. And he said, I want you to make some bets for me with somebody who said. [27:43] And I remember him using the term. He said, I want you to be my face. He said, and I want you to make some bets for me. He said, and he said, and if you, if you’ll do it, I’ll give you a hundred dollars a week just to make the bets for me. And then, you know, and then meet with these people and pay these people off. And I said, sure. You know, I said, you know, why? He says, because I can’t play with these. people he said i’m connected with him he said and i’m not allowed to gamble myself he said but he told me he said i’ve got a couple people i take bets from i’ve got my own side deal going so i want you to do it i want you to do it and i’ll give i’ll give you to them as a customer, and you’re gonna be a customer and he’s and he tells people now that i got this other police He’s in law school. He comes from a real wealthy family, and he’s looking for a place to bet. He’s in Gambia. He’s looking for a place to bet. [28:47] So I call this number, and I talk to this guy. He gives me a number. When you bet, you call, and you do this, and you do that. And I’m going to get $100 at the end of the week. Now, I’m making $5,200 a year, and they’re taking money out of my chest. I’m going to double my salary. I’m going to double my salary immediately. Why wouldn’t you do it? That’s fantastic money at the time. So I start doing it. And the first week I’m doing it, it was baseball season. [29:19] And I’m making these bets. He’s betting $500 a game on a number of games. And he’s winning some, he’s losing some. But now, when I’m checking my numbers with the guy there, he owes, at the end of the week, he owes $3,500. [29:38] And now, it’s getting bigger and bigger, he’s losing. I’m getting worried. What have I got myself into? Yeah, because it’s not him losing, it’s you losing to the bookie. That’s what I’m thinking. I’m thinking, holy, holy, Christopher, I’m thinking. But, you know, I’ve already jumped off the building. So anyhow. I’d be thinking, you better come up with a jack, dude. It’s time to pay up, man. Anyhow, so when I come to work the next day, I’m supposed to meet this guy at one of the clubs out there in the western suburbs. [30:21] I’m supposed to meet the bookmaker out there. And Ricky meets me that morning, and he gives me the money. It’s like $3,400, and here’s $100 for you. Bingo. That’s great. So, okay. When I go to make the payment to him, it’s a nightclub, and I got some money in my pocket. Somebody, one of the guys, some guy walks up. I’m sitting at the bar and, you know, I hear you’re a copper. I said, pardon me? He says, I hear you’re a copper. He was a big guy. Yeah. I hear you’re a copper. Because at that time, I still only weighed maybe like, well, maybe 60, 65 pounds. I mean, I was in fantastic shape, but I wasn’t real big. And I said, I’m a policeman. I don’t like policemen. I said, go fuck yourself. or something like that. And before he could do anything, I labeled him. That was my first of about a half a dozen fights in those different bars out there. [31:32] And the fights only lasted a few minutes because I would knock the person down. And if the person was real big, at times I’d get on top and just keep pounding before they could do anything. So I started with a reputation with those people at that time now as I’m, going through my world with these people oh no let’s stay with that one area now after the second week he loses again, this time not as much but he loses again and I’m thinking wow, He’s betting, and I’m contacted by a couple of people there. Yeah. Because these are all bookmakers there, and they see me paying off. So I’m going to be, listen, if you want another place to play, and I say, well, yeah. So my thought is, with baseball, it’s a game where you’re laying a price, laying 160, laying 170, laying 180. So if you lose $500, if you lose, you pay $850, and if you win, you only get $500. [32:52] I’ve got a couple of people now, and they’ve got different lines. And what I can do now is I check with their lines. I check with Ricky’s guy and see what his line is. And I start moving his money elsewhere where I’ve got a 30, 40, sometimes 50 cent difference in the price. So I’d set it up where no matter what, I’m going to make some money, No matter what happens, I’ll make some money. But what I’m also doing is I’m making my own bets in there that will be covered. And as I start early winning, maybe for that week I win maybe $1,000, $1,500. And then as I meet other people and I’m making payments, within about four or five months, I’ve got 10 different bookmakers I’m dealing with. Who I’m dealing with. And it’s become like a business. I’m getting all the business from him, 500 a game, whatever. And I’ve got other people that are betting, you know, are betting big, who are betting through me. And I’m making all kinds of money at that time. [34:14] But anyhow, now I mentioned a number of people, A number of people are, I’ve been with a number of people that got killed after dinner. One of the first ones was Tony Borsellino, a bookmaker. Tony was connected with the Northside people, with DeVarco, the one they called DeVarco. And we had gone to a we had gone to a I knew he was a hit man, we had gone to a basketball game over at DePaul because he had become a good friend of mine he liked hanging with me, because I was because at that time now I’m representing the main madams in Chicago too and they loved being around me they liked going wherever I was going to go so I always had all kinds of We left the ladies around. And we went to the basketball game. Afterwards, we went to a restaurant, a steakhouse on Chicago Avenue. [35:26] Gee, why can’t I think of a name right now? We went to a steakhouse, and we had dinner. And when we finished up, it came over there. And when we finished up, I’d been there probably half a dozen times with him. And he was there with his girlfriend. We had dinner and about, I’d say it was maybe 10, 30, 11 o’clock, he says, you know, Bob, can you do me a favor? What’s that? Can you drop her off? He said, I have to go meet some friends. I have to go meet some friends of ours. And, you know, okay, sure, Tony, not a problem. And, you know, I took her home. [36:09] The next day I wake up, Tony Barcellino was found dead. They killed him. He was found with some bullets in the back of his head. They killed him. Holy Christopher. And that’s my first—I found that I had been killed before that. But, you know, wow, that was—, prior to that, when I was betting, there was i paid off a bookmaker a guy named uh ritten shirt, rittenger yeah john rittenger yeah yeah yeah he was a personal friend yeah was he a personal friend of yours yeah they offed him too well i in fact i he i was paying him i met him to pay him I owed him around $4,500, and I met him at Greco’s at my restaurant he wanted to meet me out there because he wanted to talk to me about something else he had a problem some kind of a problem I can’t remember what that was. [37:19] But he wanted to meet me at the restaurant so I met him at Greco’s, And I paid him the money. We talked for a while. And then he says, you know, I got to go. I got to go meet somebody. I got to go meet somebody else. I got to go straight now with somebody else. And he said, I’ll give you a call. He said, I’ll give you a call later. He said, because, you know, I want to talk to you about a problem that I have. He says, I want to talk to you about a problem that I have. I said, okay, sure. He goes to a pizza place. Up there in the Taylor Street area. That’s where he met Butchie and Harry. In fact, at the time, I knew both of them. Yeah, guys, that’s Butch Petrucelli and Harry Alem and a couple of really well-known mob outfit hitmen. Yeah, and they’re the ones that kill them. I’m thinking afterwards, I mean, But, you know, I wish I hadn’t, I wish I hadn’t, you know, I wish I could save him. I just gave him. Man, you’re cold, man. [38:34] You could have walked with that money. That’s what I’m saying. So now, another situation. Let me cut in here a minute, guys. As I remember this Reitlinger hit, Joe Ferriola was a crew boss, and he was trying to line up all the bookies, as he called it. He wanted to line them up like Al Capone lined up all the speaks, that all the bookies had to fall in line and kick something into the outfit, and Reitlinger wouldn’t do it. He refused to do it no matter. They kept coming to him and asking him his way. I understand that. Is that what you remember? I knew him very well. Yeah. He was not the boss. Oh, the Ferriola? Yeah, he wasn’t the boss, but he was kind of the, he had a crew. He was the boss of the Cicero crew. Right. I saw Joe all the time at the racetrack. In fact, I’m the one who, I’m the one, by the time when I started wearing a wire, I was bringing undercover agents over. I was responsible for all that family secret stuff that happened down the road. Oh, really? You set the stage for all that? I’m the one who put them all in jail. All of them. [39:52] So anyhow, we’re kind of getting ahead of ourselves. Reitlinger’s been killed. Joe Borelli or Ricky Borelli’s been killed. These guys are dropping around you, and you’re getting drawn into it deeper and deeper, it sounds to me like. Now, is this when you – what happens? How do you get drawn into this Chicago outfit even more and more as a bookie? Were you kicking up, too? Well, it started, it started, so many things happened that it just fell into place. It started, like I say, with building a reputation like I had. But the final situation in terms of with all the mobsters thinking that I’m not just a tough guy, I’m a bad guy. [40:35] When I get a call, when Joey Cosella, Joey Cosella was a big, tough Italian kid. And he was involved heavily in bookmaking, and we became real close friends. Joey and I became real close friends. He raised Dobermans, and he’s the one who had the lion over at the car dealership. I get a call from Joey. He says, you’ve got to come over. I said, what’s up? He says, some guys came in, and they’re going to kill the count. They want to kill the count. And I said, And I said, what? This is before the Pewter thing. I said, what do you mean? And so I drive over there, and he says, Sammy Annarino and Pete Cucci. And Pete Cucci came in here, and they came in with shotguns, and they were going to kill them. I said, this was Chicago at the time. It’s hard to believe, but this was Chicago. And I said, who are they? I didn’t know who they were. I said, who are they? I mean, I didn’t know them by name. It turns out I did know them, but I didn’t know them by name. They were people that were always in Greco’s, and everybody in Greco knew me because I’m the owner. [41:49] But anyhow, so I get a hold of Marco, and I said, Marco, and I told him what happened. I said, these guys, a couple of guys come in there looking for the talent. That are going to kill him because apparently he extorted somebody out of his business. And I said, who were they with? And he said, they were with Jimmy the bomber. They were with Jimmy Couture. [42:15] I said, oh, they’re for legit then? I said, yeah. I said, can you call? I said, call Jimmy. I knew who he was. He was at the restaurant all the time. He was at Threatfuls all the time with a lot of these other people. And I met him, but I had no interest in him. He didn’t seem like a very friendly sort of anyone. I could care less about him. I represented a lot of guys that worked for him, that were involved with problems, but never really had a conversation with him other than I. [42:53] I’m the owner. So I met with him. I wrote about that in the book. I met with them and got that straightened out where the count’s going to pay $25,000 and you’ll get a contract to the… He ripped off some guy out of a parlor, one of those massage parlors, not massage parlor, but one of those adult bookstores that were big money deals. Oh, yeah. So when I go to meet these guys, I’m told, go meet them and straighten this thing out. So I took Colin with me over to a motel right down the street from the racetrack, right down from the racetrack, and I met with him. I met with Pete Gucci. He was the boss of, you know, this sort of loop. When I get finished talking with him, I come back, and here’s the count and Sammy, and Sammy’s picking a fork with his finger and saying, you know, I rip out eyes with these. [43:56] And the count says, I rip out eyes with these. And I said, what the fuck is going on here? I said, Pete, I said, you know, get him the fuck out of here. And you all at the count said, what’s the matter with you? You know, these guys are going to kill him. And now the moment I get involved in it, he knows he’s not going to have a problem. You know, he’s pulling this nonsense. [44:23] So anyhow, this is how I meet Pete Gucci and Sammy Annarino. After a while, I stopped hanging around with the count because he was starting to go off the deep end. Yeah. Yeah. [44:39] And we were at a party, a bear party with, I remember Willie Holman was there, and they were mostly black, the black guys up there on the south side. And I had just met this girl a day or two before, and the count says, you know, let’s go up to a party, a bear’s party up there on Lakeshore Drive. If we go up there, we go to this party, it’s going to be about maybe 35, 40 people in there, one or two whites, other than the players. And other than that, we’re the only white people there. When we walk into the place, there’s a couple of guys out there with shotguns. It was in a motel. And you walk through like an area where you go in there, and there’s a couple of guys standing there with shotguns. We go in and we go upstairs and, hey, how are you? And we’re talking with people. And I go in one room. I’m in one room. [45:45] There were two rooms there. I’m in one room with a bunch of people and, you know, just talking and having a good old time. And the count was in the second room. And I hear Spade. He always called me Spade. Spade, Spade, you know. And I go in there, and he’s talking with Willie Holman. I remember it was one of them. He was the tackle, I think, with the Bears and a couple of others. And this whole room, all these black guys. And he goes, that’s Spade Cooley. He says, him and I will take on every one of you. Oh, yeah. Yeah. Yeah. And we’re in a room, and he goes, that’s what he says. You know, him and I will take it on every one of you. And Willie did that. He calmed down. He’s telling him, calmed down. What the fuck? It was about a week or so after this. And because I had been out with the county, he’s calling me two or three times a week to go out. And we’re going, a lot of times it was these areas in the south side with a lot of blood. He liked being around Blacks. [47:00] That’s when I met Gail Sayers, and I met some of these others through him. But a lot of the parties and stuff were in the South Side out there, mostly Blacks and all. But we had gone someplace for dinner, and we’re heading back home. We’re heading back to my place, and we’re in his car. He had a brown Cadillac convertible. On the side of it, it had these, you know, the Count Dante press. And he always ran around. He ran around most of the time in these goofy, you know, these goofy outfits with capes and things like that. I’m driving and when we’re talking and I’m like distracted looking at him. And I’m waiting at a stoplight over there right off of Chicago Avenue. And as we’re there. [47:48] I barely touched the car in front of us, you know, as I’m drifting a little bit and barely touch it. There were four guys in the car and, you know, and the one guy jumps out first, one guy jumps out first and then second one, and they start screaming. And when the count gets out, the guy starts calling you, you faggot or something like that, you know, whatever. And as the other one gets out, I get out of the car. And the next thing I know, they jump back in the car, and they run through a red light, and they disappear. Somebody must have recognized them. One of the other people there must have realized who this is that they’re about to get into a little battle with. In fact, they ran the red light. They just ran the red light and disappeared. They come, no, no, no, no, no. And we go off to my apartment and I’m here with this girl, another girl I had just met a day or so before, because I was constantly meeting new people, uh, running around and, uh, we’re sitting on the couch. I’m sitting in the couch next to her and the count, the count was over there. And he suddenly says to her, he says, he says, this is one of the toughest people I’ve ever met. He said, and he says, tell her how tough you are. Tell her how tough you are. [49:10] I said, you know, I said, you know, you know, and he says, tell them how tough you are. And I said, John, you know, and he walks over, And he makes a motion like this towards me. And he barely touched my chin. But I thought he broke it. He then steps back and he goes, I got to cut this hand off. He says, you saved my life. He said, you saved my life. He said, the only two friends I’ve had in the world were my father and you. He says, I wasn’t even that crazy about my mother. That’s when I said then he goes and he stands and I’m looking at it now he stands up against the window I looked up on the 29th floor, he stands by the window he says get your gun he says and I want you to aim it at me, and say now before you pull the trigger and I’ll stop the bullet, I’ll stop the bullet this guy was nuts and I said I said, what? [50:28] He says, before you pull the trigger. [50:36] Tell me before you pull the trigger and I’ll stop the bullet. He wanted me to shoot him. He stopped the bullet. When I got him out of there, Now when he’s calling me, I’m busy. I’m busy. Once in a while, I’d meet him someplace. No more driving or whatever. That was smart. I hadn’t seen him in probably five or six months. And this is, again, after the situation when I had met with Anna Randall and Gooch and the others. I’m up in my office and I get a I get a call from the county, and he said and I hadn’t probably seen him even maybe in a month or two at all and he said, can I come over and talk to you and I was playing cards in fact I had card games up in my office and, we called him Commissioner. [51:41] O’Malley Ray O’Malley, he was the head of the police department at night. On midnights, he got there at 4 to 12. He started at 4 to 12 until midnights. He was the head of them. He was the commissioner. He was in charge of the whole department. He used to play cards up in my office. We had big card games up in my office. And when he’d come up there, we’d have the blue goose parked out in front. We’d have his bodyguard sitting out there by my door. When he was playing in the games. This went on for a couple of years. [52:15] I was at the office, but, you know, I’m at the office playing cards. [52:20] And I had a, it was a big suite. We had, you know, my office was a big office in this suite. We had about six other, you know, big, big suites in there. And so he comes over, he comes over to meet with me. And so I figure he’s in trouble. He’s arrested. He says, I’ve got a situation going. He says, well, you can get a million dollars. And he said, but if I tell you what it is, he says, and you’re in, he said, you got to be in. I’ll tell you what it is. I said, John, if I need money, I said, you get $2 million, then you can loan me if you want, but I don’t want to know what it is. I said, I just don’t want to know what it is. [52:59] It was about a week or two later. It was a pure later, basically. It was a pure later caper. Yeah, guys, this was like the huge, huge. And the one he set it up with was Pete Gucci, the guy that was going to kill him. That was the one who set it up. I knew that. I thought I remembered that name from somewhere. I don’t remember. They ended up getting popped, but everybody got caught, and most of the money got returned. No, no. No bit that the outfit kept, I understand, if I remember right. What was the deal on that? There was more to it than that. Just before that happened, I go up, and Jerry Workman was another lawyer. Actually, he was attorney up in the office, post-rending bank. When I’m going up into the office, I see Pete Gucci there. This is probably a week or so after the situation with the count. Or maybe even a little bit longer than that. I said, Pete, what are you doing? I said, what are you doing here? Jerry Workston’s my lawyer. Oh, okay. [53:55] Okay. He said, I didn’t know you were off here. I said, yeah. I said, Jerry’s a good friend of mine. Okay. And as I’m walking away, he says, you tell your friend the count to stop calling me at two, three in the morning. He says, I got a wife and kids and whatever. And I said to him, I said, Pete, you got no business dealing. I don’t know what it is. I said, but you guys got no business dealing involved in anything. You got no business being involved with him. And I walked away. I see him and I see him as he’s leaving. I see him as he’s leaving and say goodbye to him. Jerry was going to be playing cards. [54:39] It was card night too. Jerry was going to be playing cards in my office because the people would come in usually about 9 o’clock, 9.30 is when the game would usually start. I talked with Jerry. He had been in there for a while. He was arrested a day or two later. The fbi comes in there because he had stashed about 35 000 in jerry’s couch oh really that was his bond money he got that was his bond money if he got to get bailed out to get him bailed out that was his bond money that was there that’s how bizarre so i got involved in so many situations like this but anyhow anyhow now sammy uh, So it’s about maybe a week or two later after this, when I’m in the car driving, I hear they robbed a purulator. The purulator was about a block and a half from my last police station. It was right down the street from the 18th district. That was the place that they robbed. And not long after that, word came out that supposedly a million dollars was dropped off in front of Jimmy the bomber, in front of his place. With Jimmy the bomber, both Sammy Ann Arino and Pete Gucci were under him. They were gunmen from his group. Now I get a call from, I get a count was never, you never heard the count’s name mentioned in there with anybody. [56:07] The guy from Boston, you know, who they indicated, you know, came in to set it up. The count knew him from Boston. The count had some schools in Boston. And this was one of his students. And that’s how he knew this guy from Boston that got caught trying to take a, trying to leave the country with, you know, with a couple thousand, a couple million dollars of the money. Yeah, I read that. It was going down to the Caribbean somewhere and they caught him. And Sammy Ann Arino didn’t get involved in that. He wasn’t involved in that because I think he was back in the prison at the time. [56:44] Now, when he’s out of prison, probably no more than about maybe three or four months after all that toilet stuff had died down, I get a call from Sam, and he wants me to represent him because he was arrested. What happened was he was shot in a car. He was in a car, and he had gotten shot. And when they shot him, he kicked out the window and somehow fought the guys off. When they found him there in the car and in his trunk, they found a hit kit. They said it was a hit kit. How could they know? It was a box that had core form in it, a ski mask, a ski mask, a gun, a gun with tape wrapped around it and the rest of it. Yeah. And he’s an extra time. Mask and tape or little bits of rope and shit like that. I’d say no. So he was charged with it, and he was charged with it in his case, and he had a case coming up. I met him the first time I met him. He came by my office, and he said, you know, and I said, no, that’s not a problem. And he says, but I’ve got to use Eddie Jensen, too. [57:52] And I said, I said, what do you mean? I said, you don’t need Eddie. And he says, I was told I have to use him. Jimmy Couture, his boy, he said, I have to use him. I know why, because Eddie lets these mobsters know whenever anybody’s an informant, or if he’s mad at somebody, he can tell him he’s an informant, they get killed. And so I said, you know, that piece of shit. I said, you know, I want nothing to do with him. I had some interesting run-ins with him before, and I said, I want nothing to do with that worthless piece of shit. You know, he’s a jagoff. And I said, you know, I says, no. He said, please. I said, no. I said, Sammy, you know, you don’t need me. He knows the judge like I know the judge, Sardini. I said, you know, you’re not going to have a problem in there. I get a call from him again, maybe four or five days after that. He’s out of my restaurant and he says, Bob, please. He said, You know, he says, please, can I meet you? He says, I got a problem. I go out to the meeting. And so I thought, there’s something new. I want you to represent me. I want you to represent me, you know, on the case. And I says, did you get rid of that fence? He says, no, I have to use him. But I says, look, I’m not going to, I want, no, Sammy, no, I’m not going to do it. He leaves the restaurant. He gets about a mile and a half away. He gets shotgunned and he gets killed. In fact, I read about that a couple of days ago. [59:22] I know it’s bullshit. They said he was leaving the restaurant. It was Marabelli’s. It was Marabelli’s Furniture Store. They said he was leaving the furniture store. What they did was they stopped traffic out there. They had people on the one side of the street, the other side of the street, and they followed, they chased him. When he got out of his car and was going to the furniture store, They blasted him with shotguns. They made sure he was killed this time. After that happened, it’s about maybe three or four days after that, I’m up in my office and I get a call. All right, when I come out, I always parked in front of City Hall. That was my parking spot. Mike and CM saved my spot. I parked there, or I parked in the bus stop, or in the mayor’s spot. Those were my spots. They saved it for me. I mean, that was it, for three, four, five years. That’s how it was. I didn’t want to wait in line in the parking lot. So my car is parked right in front of the parking lot. And as I go to get in my car, just fast, fast, so walking, because he was at 134 right down the street from my office and he parks like everybody else in the parking lot so he can wait 20 minutes to get his car. [1:00:40] And, and, and Bob, Bob, and, you know, and when I meet up with him, I’m both standing and we’re both standing right there in front of the, in front of the, uh, the parking lot. And he was a big guy. He weighed probably about 280, 290, maybe more. You know, mushy, mushy type, not in good shape at all. In fact, he walked with a gimp or whatever. And he says, you better be careful, he says. Jimmy Couture is furious. He heard what you’ve been saying about me. [1:01:17] You’ve been saying about me. and something’s liable to happen. And I went reserved. I grabbed him, and I threw him up on the wall, and I says, you motherfuckers. I said, my friends are killing your friends. [1:01:34] I said, my friends, because he represented a number of these groups, but I’m with the most powerful group of all. And when I say I’m with him, I’m with him day and night, not like him just as their lawyer. Most of them hated him, too, because most of them knew what he was doing. Yeah most of these and most of these guys hated him and i said you know but i and and i just like you’re kissing his pants and i don’t know if he crapped in his pants too and uh you know because i just turned around i left that same night jimmy katura winds up getting six in the back of the head maybe three miles from where that took place yeah he was uh some kind of trouble been going on for a while. He was a guy who was like in that cop shop racket, and he had been killing some people involved with that. He was kind of like out away from the main crew closer to downtown, is my understanding. Like, you were in who were you in? Who was I talking about? Jimmy Couture? Jimmy Couture, yeah. He was no, Jimmy Couture was Jimmy Couture, in fact, all these killers, we’ll try and stay with this a little bit first. Jimmy Couture was a boss and he had probably about maybe a dozen, maybe more in his crew and, He didn’t get the message, I’m sure. [1:03:01] Eddie Jensen firmly believes, obviously, because it’s the same day and same night when I tell him that my friends are killing your friends. [1:03:14] He’s telling everybody that I had him kill, I’m sure. Yeah, yeah. Because it was about another few days after that when I’m out in Evanston going to a courthouse. And there you had to park down the street because there was no parking lot. Here I hear Eddie, you know, stay. I’m going to say Bob, Bob. And when he gets up, he says, Bob, he says, when I told you, I think you misunderstood. When I told you it was Jimmy Cattrone. it was it was jimmy katron was a lawyer that you know worked in out of his office close friend of mine too he was a good friend of mine it was jimmy it was jimmy katron that you know not because he obviously thought he believed so he’s got all these mobsters too bosses and all the rest thinking that i was involved in that when i when i wasn’t uh when i was when i wasn’t actually But it’s so amazing, Gary. And that’s one of a dozen stories of the same sort. I met unbelievable people. I mean, we’re talking about in New Orleans. We’re talking about in Boston. Now, if you were to say, who were you with? Always somebody’s with somebody. Were you with any particular crew or any particular crew. [1:04:41] Buzz, were you totally independent? [1:04:46] Everybody knew me to be with the Elmwood Park crew. And that was Jackie Cerrone before Michael, I mean, before Johnny DeFranco. That was Jackie Cerrone. Okay. That was Giancana. That was Mo Giancana. Mo was moving at the clubhouse all the time. That was the major people. [1:05:13] And where was their clubhouse? What did they call their clubhouse? Was that the Survivors Clubhouse, or what was the name of their operation? Every group had one, sometimes more clubhouses. Right. That was where they would have card games in there. They’d have all kinds of other things going. the place was full of like in Marcos I call it Marcos but it was actually Jackie Sharon’s when I first got involved Jackie Sharon was the boss who became a good friend of mine, Jackie Sharon was the boss and Johnny DeFranco was, right under him and then a number of others as we go down, our group alone we had. [1:06:04] Minimum, I’d say, a thousand or more people in our group alone. And who knows how many others, because we had control of the sheriff’s office, of the police department, of the sheriff, of the attorney general. We had control of all that through the elections. We controlled all that. So you had 1,000 people. You’re talking about all these different people who we would maybe call associates. It would be in and out of our club all the time. Okay. Yeah. We’re talking a number of policemen, a number of policemen, a number of different politicians of all sorts that we had. I knew dozens of people with no-show jobs there. We had control of all the departments, streets and sanitation, of absolutely urbanizing. We controlled all the way up to the Supreme Court. What about the first ward, Pat Marcy, and the first ward now? Was your crew and Jackie Cerrone’s crew, did that fall into the first ward, or were they totally there? How did that relate, the Pat Marcy and the politicians? And I found out all this over a period of time. [1:07:28] Everything had changed right about the time I first got involved with these people. All these people you’ve read about, no one knows they were still alive. I met just about all of them when I got connected over there with the first word. A lot of the, we were talking about the gunmen themselves. All the Jackie not just Jackie but I’m talking about Milwaukee Phil Milwaukee Phil and all the rest of them they were over there at Councilors Row all the time because when they were to meet Pat Marcy, what they had there in the first war and, It just so happened, when I started in my office, it was with Alan Ackerman, who was at 100 North, where all their offices were upstairs. The first ward office was upstairs. [1:08:22] And below the office, two floors below, I found out on this when I got involved with them, we had an office. looked like it was a vacant office because the windows were all blackened out. That’s where he had all the meetings with people. When Arcado or Yupa, anybody else, any of the other people came in, this is where he met them. When the people from out of town came in, we’re talking about when, what do you think? [1:08:58] But when Alpha, when Fitzgerald, when all these people would come in, this is where they would have their meetings. Or these are the ones who would be out with us on these casino rides. When these people came in, this is where they would do the real talking because we’d go to different restaurants that weren’t bugged. If this office was checked every day, the one that they had down below, and nobody, nobody, their office was, I think it was on the 28th floor, the first ward office. You had the first ward office, and right next to it, you had the insurance office when everybody had to buy their insurance. Obviously at upper rates big office connected to the first ward office when the back there’s a door that goes right into into theirs but the people were told you never get off or you get off you get off at the office floor but then you you walk you you get off it and i’m sorry you get off it at the. [1:10:11] You don’t get off at the first ward office you get off at one of the other offices one of the other offices or the other floors and when you come in there, then you’ll be taken someplace else after that a double shop that’s where they would go and in fact when I had to talk to Petter Cary messages or whatever people like Marco couldn’t talk to Marcy. [1:10:41] Only a few people could. Only people at the very top level could. Marco, he was a major boss. He could not talk to Marco. If he needed, you know, whatever. Marco D’Amico. Marco was, you had, Marco was the one right under Johnny DeFonza. Yeah. Marco’s the one that was in charge. He was the one who was in charge of all the gambling. Not just in Chicago, but around all those areas in Cook County. We had not just Chicago. They were also the ones that were in charge of all the street tax, collecting all the street tax. That’s where the big, big money was also. Everybody paid. What happened was in the 70s, right as I got involved

o.

FFoDpod.com   Patreon   Merchandise   CC-BY-SA  Can be found at scpwiki.com and was written by Le Blue Dude. Rewritten by Sirava. Posted on Mar 17, 2009.

Bill Maher kicks back with John Malkovich for a candid conversation that jumps from Death of a Salesman and his new series Bad Monkey to his unexpected love of classical-music collaborations—and why so much theater ends up “a misery.” Malkovich opens up about his Leave-It-to-Beaver childhood, his 82nd Airborne environmentalist father, getting beaten as a kid, and the lingering feeling he'll never quite measure up. Along the way, he and Bill veer into AI, driverless cars, nightmare hotels, and that golden window of being born after antibiotics but before the robots take over, with a detour to a great story about how Con Air came to be, as well as Bill's unabashed love for In the Line of Fire. Subscribe to the Club Random YouTube channel: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/c/clubrandompodcast?sub_confirmation=1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Watch episodes ad-free – subscribe to Bill Maher's Substack: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://billmaher.substack.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Subscribe to the podcast for free wherever you listen: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://bit.ly/ClubRandom⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Support our Advertisers: Upgrade your wardrobe and save on @trueclassic at ⁠https://www.trueclassic.com/RANDOM⁠ ! #trueclassicpod #ad Get 30% off your first purchase and free shipping at http://wonderballsusa.com/?utm_source=podcast&utm_medium=paid&utm_campaign=wbaudiolaunch2025&utm_term=clubrandomwithbillmaher&utm_content=weekof12/1read Buy Club Random Merch: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://clubrandom.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit https://podcastchoices.com/adchoices ABOUT CLUB RANDOM Bill Maher rewrites the rules of podcasting the way he did in television in this series of one on one, hour long conversations with a wide variety of unexpected guests in the undisclosed location called Club Random. There's a whole big world out there that isn't about politics and Bill and his guests—from Bill Burr and Jerry Seinfeld to Jordan Peterson, Quentin Tarantino and Neil DeGrasse Tyson—talk about all of it.  For advertising opportunities please email: PodcastPartnerships@Studio71us.com ABOUT BILL MAHER Bill Maher was the host of “Politically Incorrect” (Comedy Central, ABC) from 1993-2002, and for the last fourteen years on HBO's “Real Time,” Maher's combination of unflinching honesty and big laughs have garnered him 40 Emmy nominations. Maher won his first Emmy in 2014 as executive producer for the HBO series, “VICE.” In October of 2008, this same combination was on display in Maher's uproarious and unprecedented swipe at organized religion, “Religulous.” Maher has written five bestsellers: “True Story,” “Does Anybody Have a Problem with That? Politically Incorrect's Greatest Hits,” “When You Ride Alone, You Ride with Bin Laden,” “New Rules: Polite Musings from a Timid Observer,” and most recently, “The New New Rules: A Funny Look at How Everybody But Me Has Their Head Up Their Ass.” FOLLOW CLUB RANDOM https://www.clubrandom.com https://www.facebook.com/Club-Random-101776489118185 https://twitter.com/clubrandom_ https://www.instagram.com/clubrandompodcast https://www.tiktok.com/@clubrandompodcast FOLLOW BILL MAHER https://www.billmaher.com https://twitter.com/billmaher https://www.instagram.com/billmaher Learn more about your ad choices. Visit podcastchoices.com/adchoices