Podcasts about Scale

Download your free personalized $100M scaling roadmap in under 30 seconds: https://www.acquisition.com/roadmap?el=yt-alex-486r&htrafficsource=yout In this Q&A episode, Alex advises business owners on how to overcome growth bottlenecks by optimizing ad spend, testing new keywords, and building a defensible brand. He also tackles challenges around talent acquisition, outsourcing, and improving financial forecasting to scale e-commerce businesses effectively.In this episode00:00 Lead generation for a luxury tables business07:50 Hiring strategies to scale a direct-response business 12:20 Building a strong brand beyond media arbitrage18:19 SaaS pivot advice for a salon business27:56 Scaling a luxury resale business33:03 Buying versus building talent to boost sales38:33 How to get the $100M scaling roadmapMore Value:Join The Live Scaling Workshop In Las Vegas: https://www.acquisition.com/o-vegas Download your free personalized $100M scaling roadmap in under 30 seconds: https://www.acquisition.com/roadmap?el=yt-alex-486r&htrafficsource=youtube Discover The Easiest Business I Can Help You Start (Free Trial): https://www.skool.com/hormozi Free Books and Video Courses: https://www.acquisition.com/training Get the $100M Book Bundle: https://shop.acquisition.com/pages/100m-book-bundle Follow Alex Hormozi's Socials:⁠⁠LinkedIn ⁠⁠ | ⁠⁠Instagram⁠⁠ | ⁠⁠Facebook⁠⁠ | ⁠⁠YouTube ⁠⁠ | ⁠⁠Twitter⁠⁠ | ⁠⁠Acquisition ⁠

Byron Deeter has spent two decades at the epicenter of tech as an investor with Bessemer Venture Partners. His portfolio includes some of the most innovative companies in the world, from Anthropic to Waymo to Canva. He talks with host Jeff Berman about his advice for both founders and investors in this moment of AI transformation, why CEOs need to think more like athletes, and more.Subscribe to the Masters of Scale weekly newsletter: https://mastersofscale.com/subscribeSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

If you want to leave corporate America in the next 6-18 months - you should check out our Action Academy Community

View This Week's Show NotesStart Your 7-Day Trial to Mobility CoachJoin Our Free Weekly Newsletter: The AmbushWhat happens when human biology collides with exponential technology? In this wide-ranging and deeply relevant conversation, Steven Kotler – NYT best-selling author and founder of the Flow Research Collective – joins The Ready State to unpack how AI, information overload, and rapid technological change are reshaping the way we think, work, and live.Steven breaks down the growing mismatch between our ancient brains and today's hyper-accelerated world – and why it's leading to burnout, fractured attention, and loss of meaning. But this isn't a doom-and-gloom conversation. Instead, he offers a powerful reframe: the future belongs to those who can harness flow, think creatively, and collaborate at scale.From practical strategies for using AI without losing your cognitive edge… to why attention is your most valuable currency… to how group flow may be the key to solving humanity's biggest challenges, this episode is both a wake-up call and a roadmap. If you've ever felt overwhelmed, distracted, or unsure how to keep up in today's world, this conversation will change how you think about performance, purpose, and possibility.What You'll Learn in This EpisodeWhy our brains are overwhelmed – and the hidden chain reaction leading to burnout and identity collapseHow AI can either enhance your thinking… or quietly erode your cognitive abilitiesThe role of flow state in boosting creativity, productivity, and long-term resilienceWhy attention is the real battleground of the modern world – and how to train itHow “group flow” and cooperation at scale may be the key to thriving in the futureKey Highlights: (00:00) Intro & Teaser: The AI Attention Warning(02:56) Meet Steven Kotler & We Are As Gods(04:18) The World Is 286% Faster Than in 2012(05:29) Global vs. Linear: How Our Brains Fell Behind(11:59) Understanding Cognitive Load & Information Overload(14:17) Exponential Leadership Syndrome Explained(14:53) The Chain: Overload, Burnout, & Identity Collapse(17:36) When Is AI Helping vs. Making Us Weaker?(18:49) The Brain Predicts the Future to Save Calories(23:54) Cognitive Offloading: The Real AI Problem(26:00) Rule #1: Always Do Your Thinking First(28:37) Interoception as the Antidote to AI Overuse(38:35) What Is Flow State? The Full Breakdown(39:07) Flow Makes You 500% More Productive(40:48) Why AI Can't Do Lateral Thinking (But Humans Can)(43:57) The Key To Maximum Creativity(46:05) You Need Better Personal Filters – Here's Why(51:48) The Human Attention Span Is Now 3 Seconds(52:35) Match Your Screen Time with Meditation Time(57:51) Challenge & Friction Are Features, Not Bugs(58:40) The Challenge-Skills Balance and Flow Triggers(1:02:24) Rethinking Work: Creation vs. Survival(1:08:39) The Killer App of the 21st Century: Cooperate at Scale(1:13:02) Master Group Flow to Thrive in the AI Age(1:15:23) Infinite Shelf & Where to Find Steven KotlerHuge thanks to our sponsors, LMNT, Momentous, Vitality, and Kreatures of Habit

In this bonus episode of Radio Advisory, managing producer Chris Phelps and host and executive producer Rae Woods compare notes from the 2026 ViVE digital health conference. They break down what stood out on the main stage and the show floor—from where AI is over and under hyped, to why point solutions keep falling short, to what it actually takes to scale technology in healthcare. They also surface the big questions they still have about the healthcare industry's digital future. We're here to help: Podcast | Ep. 294: Live from ViVE: How payers can reduce friction when the rules change Podcast | 276: The AI gold rush is changing how humans (and clinicians) make decisions Research | How to succeed using AI: Lessons from 4 leading organizations Expert Insight | Inside CMS' final rule changes for 2026 Podcast | Ep. 205: Live from ViVE 2024: Four leaders on how technology is redefining clinical work A transcript of this episode as well as more information and resources can be found on RadioAdvisory.advisory.com.

Colin Campbell, is a Serial Entrepreneur and number 1 best selling author in 15 categories and 13 awards on Amazon of Start. Scale. Exit. Repeat. Colin started, scaled, and exited over a dozen companies worth almost 1 billion dollars including Tucows, Hostopia, CLUB Domains, GeeksforLess and Paw.com. Colin also runs Startup Club with 1M members. Top 3 Value Bombs 1. What gets you from start to traction will not get you to scale; systems, not instincts, drive sustainable growth. 2. Scaling requires delegating responsibilities, not tasks, and hiring people with the right runway and personality fit. 3. Most companies don't need venture capital; the right funding source depends on the business, timing, and strategy. Get a copy of Colin's book on Amazon - Start, Scale, Exit, Repeat Sponsors HighLevel - The ultimate all-in-one platform for entrepreneurs, marketers, coaches, and agencies. Learn more at HighLevelFire.com. 50 - Join JLD on his free '50 days to something' video series on YouTube and create something special in 50 days. Revenued - Built for small business owners who need fast, flexible access to working capital, without relying on your personal credit score. Apply now at Revenued.com/fire.  

Kim Bowes is an archaeologist at the University of Pennsylvania whose book, Surviving Rome: The Economic Lives of the Ninety Percent, Tyler calls perhaps his favorite economics book of 2025. By sifting through the material remains of Roman life — shoes, bricks, ceramics, and the like — she uncovers a picture of ordinary Romans who could evidently afford to buy multiple sets of colorful clothes, use gold coins for daily transactions, and eat peppercorns sourced from thousands of miles away. This vast web of commerce, she argues, both bound the empire together and provided the tax base that kept it running — and when it unraveled, Rome unraveled with it. Tyler and Kim discuss what would surprise a modern visitor to a Roman elite home, what early Roman Christianity actually looked like on the ground, why Romans never developed formal economic reasoning, what decentralized money-lending reveals about the Roman state, whether there were anything like forward markets, why Romans continued to use coins even as the empire debased them, the economics of Roman slavery, whether Roman recipes taste any good, the Romans as hyper-scalers rather than inventors, what Rome made of China and Egypt, why Kim's not a fan of the Vesuvius challenge, the practicalities of landscape archaeology, how a vast belt of factories along the Tiber Valley went undiscovered until twenty years ago, where to go on a three-week tour of the Roman Empire, what she thinks is ultimately behind Rome's unraveling, and much more. Read a full transcript enhanced with helpful links, or watch the full video on the new dedicated Conversations with Tyler channel. Recorded February 2nd, 2026. Other ways to connect Follow us on X and Instagram Follow Tyler on X Sign up for our newsletter Join our Discord Email us: cowenconvos@mercatus.gmu.edu Learn more about Conversations with Tyler and other Mercatus Center podcasts here. Timestamps: 00:00:00 - Intro 00:01:06 - Roman Housing 00:08:28 - What Early Roman Christians Actually Believed 00:16:29 - Roman Economic Thought 00:18:39 - Roman Banking and Money Practices 00:28:48 - The Economics of Roman Slavery 00:31:56 - What Held The Roman Empire Together 00:36:46 - Roman Cookery 00:39:17 - The Romans as Masters of Scale 00:42:05 - Rome's Contact with Asia 0043:59 - The Vesuvius Challenge 00:45:13 - Ancient Carthage and the Fall of Rome 0049:43 - The Realities of Doing Archaeology 00:57:15 - Touring the Roman Empire 01:00:42 - Outro

Most law firm owners think they need more cases, more marketing, or more hours to grow. They don't. They need leverage. In this solo episode, Chris Dreyer breaks down the four types of leverage—labor, capital, code, and content—and shows how the firms scaling fastest use them to increase output without increasing effort.   For more resources on how to dominate your market, visit us at Rankings.io. On this episode, you'll learn: Why law firms stall out when leadership is the bottleneck. The real reason top firms invest in talent before they invest in ads. Where AI and automation already replaced headcount inside PI firms. How to build distribution channels that compound attention and drive inbound demand. If you like what you hear, hit Subscribe. We do this every week. Buy tickets for PIMCON 2026: https://hubs.li/Q04bf9vT0  Subscribe to our newsletter:  pimnewsletter.beehiiv.com  Get Social! Personal Injury Mastermind (PIM) powered by Rankings.io is on Instagram | YouTube | TikTok

In this episode, we do something a little different. We brought back Isaac Rose Berman (roundrobin42), a sharp tennis bettor and responsible gaming advocate, and put him in the hot seat to rank some of the most well-known names on Gambling Twitter. From respected voices to controversial figures, Isaac breaks down his honest thoughts on 19 prominent betting personalities and places them into tiers based on credibility, perception, and overall impact in the space. Some rankings might surprise you. Others might start arguments. If you've ever wondered who's actually sharp on Gambling Twitter, this one's for you. Hosted by Jacob Gramegna. This video is part of the Circles Off channel on The Hammer Betting Network, bringing you insight, analysis, and conversation from across the sports betting world.

Why does dentistry have such high levels of stress and burnout? Why do so many clinicians feel isolated despite working in busy practices? What are the early warning signs that a colleague might be struggling? And what can you actually do — practically — if someone is in crisis? In this powerful and deeply important episode, Professor John Gibson shares his personal story and the mission behind the Canmore Trust. The conversation explores suicide prevention in dentistry, how to recognise warning signs, and the simple but life-saving actions every clinician should know. https://youtu.be/BftumzpytJI Watch IC071 on YouTube Key Takeaways Dentistry has a well-recognised issue with stress, burnout, and suicide risk Suicide is always multifactorial — never caused by a single event Toxic culture, including harassment and unrealistic expectations, contributes to distress Social media comparison can amplify feelings of inadequacy and isolation Dentistry is uniquely demanding — both intellectually and technically Mental health stigma prevents open conversations within the profession Neurodivergence is increasingly relevant and often underdiagnosed Perfectionism is a key risk trait linked to suicidal thinking Working below your moral standards creates significant psychological stress Warning signs include changes in temperament, withdrawal, and isolation Asking directly about suicide does not increase risk — it can save lives Use the “double bounce” approach: ask the question twice if needed If someone says yes, act immediately — hospital or emergency services You are not responsible for managing the crisis alone Early support includes sharing concerns and involving a trusted person GP support can be transformative and should not be delayed Highlight of this episode: 00:00 Teaser 00:51 Intro 04:16 John Gibson Introduction 07:15 Understanding the Scale of Suicide in Dentistry 09:59 Why Suicide Happens in Dentistry 11:13 Key Risk Factors of Suicide in Dentistry 12:09 Social Media and Comparison 12:52 Isolation 13:04 Difficulty of Dentistry 14:03 Mental Health Stigma 15:22 Neurodiversity 18:18 Perfectionism and Moral Conflict in Dentistry 21:44 Recognising Warning Signs of Suicide 21:46 Midroll 25:07 Recognising Warning Signs of Suicide 26:21 How to Approach a Suicidal Colleague 28:49 Double Bounce Technique 30:44 If the Answer is YES 33:36 Support and Resources for Dentists 34:12 Key Suicide Prevention Steps 37:40 Creating a Supportive Workplace 39:18 Reflective Space 40:00 Daily Positivity Practice 42:46 Canmore Trust Podcast 42:59 Outro Learn more about mental health in Dentistry: Check out more episodes on mental health, burnout, and wellbeing in dentistry. PDP185 – Mental Health in Dentistry IC040 – Overcoming Adversities

This show has been flagged as Clean by the host. Basic-Filtering 01 Introduction This is the second episode in a four part series on a simple way to create your own HPR podcast episode. 02 This episode will cover the following topics: Basic filtering.. De-essing to improve voice quality. And normalizing to adjust audio levels for easier reviewing. 03 Filtering is removing unwanted noise from an audio signal. There are several ways of doing this. It is possible to do this with Audacity, but I don't know how so I won't try to describe that method. It is possible however to filter using command line tools such as FFMPEG and Sox. When assembled into shell scripts, these tools can become part of an automated process that you can use over and over again for each HPR episode that you record. 04 In a later episode I will discuss how to analyze audio signals to find the sources of noise that can be reduced or eliminated with filters. In this episode however I will discuss basic filtering that you can apply routinely without doing any analysis beforehand. 05 Sources of Noise A question that you may have is "why is there noise in the recording?" There are many sources of undesirable noise. 06 A very common one that you may not be aware of is electrical noise that works its way into the electronic recording circuits and is imperceptible to you until you play back the recorded audio. The most common noise signal is what is commonly called "line noise" and is a low frequency hum at 50 or 60 Hz from the electric power lines and reflects the 50 or 60 Hz frequency of the AC power lines feeding your recording hardware. 07 You may be familiar with this low frequency hum from when it emanates from large electrical hardware such as transformers as it makes the laminations vibrate. However, it can also work its way indirectly into electronic equipment as well. Good quality audio hardware may filter all or most of this out, but it is present in a lot of consumer grade hardware. 08 Other sources of electrical noise may reflect specific problems in your recording hardware. I will discuss one such problem with my microphone that I had to address. Still other sources of noise may reflect actual physical audio noise around you, such as fans. Placing the microphone close to your face will help in dealing with a lot of these problems, but you may find filtering to be of some help here as well. 09 Audio Frequency Range Let's start with some basics. A good quality stereo of the type you may have at home is typically rated to perform between 20 Hz and 20 kHz. This is the widest possible range that we need to consider. In reality, this is a far wider range than is needed for a voice oriented podcast. It is also well beyond the range of the hardware that many of your listeners will be using to listen to the podcast. 10 For example, the speakers that I have connected to my PC and a number of headphones and earphones that I have tested drop off drastically below 80 Hz or above 8 kHz, or even above 6 kHz in many cases. This is not audiophile quality hardware, but it is representative of the sort of hardware that a lot of your listeners will be using when listening to podcasts. And to be honest here, a lot of people will have difficulty hearing anything above 8 kHz even with the best quality audio hardware due to hearing loss from environmental noise exposure or age. 11 You can get a good idea of what different frequencies sound like by generating sine waves using either FFMPEG or Sox. Here's an example of generating a 1 kHz sine wave using FFMPEG. A copy of this will be in the show notes. ffmpeg -f lavfi -i "sine=frequency=1000:sample_rate=44100:duration=3" 01000hz.flac This creates a sine wave at 1 kHz and at a sample rate of 44.1 kHz for a duration of 3 seconds and saves it to a flac file named 01000hz.flac 12 Here's the same using Sox. sox -n -r 44100 -b 16 01000hz.flac synth 3 sine 1000 The -b 16 specifies using 16 bit audio to encode it, and the "sine 1000" element specifies the frequency in hertz. 13 You can test this out at different frequencies to get a feel for how your hardware responds. What the effective limits on typical hardware audio range means is that we can quite safely filter out a large part of what is considered to be the "audio range" without any noticeable loss of quality. For the purposes of our discussion here then I will limit the frequency range to between 80 Hz and 12 kHz, and that is being generous. You can probably narrow that, particularly at the top end, without any problems. 14 At the low end, the typical rule of thumb recommended by most people seems to be that for the average male voice you can set the lower threshold at 80 Hz, and for the average female you can set it at 160 Hz. Note that you don't *have* to set the threshold higher for a female. Rather, it is just that you typically *can* set it higher if you wish. Note also that these are averages, and may not reflect an actual individual. 15 Simple Filters We will now create some simple filters using the same command line software mentioned in a previous episode in this series. These are FFMPEG and Sox. 16 First let's define some terminology. A high pass filter passes through frequencies which fall above a certain threshold and blocks frequencies which are below that frequency. A low pass filter passes through frequencies which fall below a certain threshold and blocks frequencies which are above that frequency. 17 In reality there isn't an abrupt cut-off in the filters. Instead there is a gradual roll off or sloping off of amplitude below or above the specified filter frequency. This is for two reasons. One is that if there was an abrupt cut off then it would risk introducing audible distortion in the signal for frequencies on the margin. 18 The other reason is that this is how hardware filters traditionally inherently worked when they were made out of electronic components such as resistors, capacitors, and inductors. The sharpness of this cut off can be adjusted, but we won't be fiddling with it in that sort of detail. You will sometimes see filters specified in terms of "poles". This has to do with describing how filters were constructed using electronic components. Don't worry about it, it doesn't really matter. 19 Here is a typical high pass filter using ffmpeg which filters out frequencies below 80 hertz. # High pass filter. ffmpeg -i inputfile.flac -af "highpass=f=80" outputfile.flac Here is a typical low pass filter using ffmpeg which filters out frequencies above 12 kHz. # Low pass filter. ffmpeg -i inputfile.flac -af "lowpass=f=12000" outputfile.flac 20 Here is a filter which combines the two. # Combined filters. ffmpeg -i inputfile.flac -af "highpass=f=80, lowpass=f=12000" outputfile.flac And here is the same thing using Sox. sox inputfile.flac outputfile.flac highpass 80 lowpass 12000 21 Filtering Out Specific Frequencies Recall that I mentioned that a common source of noise is the 50 or 60 Hz AC power line frequency working its way through the electronics of your recording device. Because filters operate gradually and the 80 Hz lower filter threshold is close to 60 Hz, the high pass filter may not deal with this adequately. 22 Now it happens that your listeners may not be able to hear this 50 or 60 Hz noise anyway because their audio hardware won't reproduce it. That by the way includes you not being able to hear it either when you review your recording before uploading it. However, there may be some HPR listeners who are sitting back sipping a glass of wine and listening to your episode on their stereo and who can hear it. That suggests that we ought to do something about it just in case. 23 I will get into how to analyze audio signals in a later episode, but for now just accept that I looked at the frequency spectrum of a sample recording using my hardware and found a large 60 Hz noise spike which I wanted to address. 24 Experimenting with additional high pass frequencies up to 120 Hz did not improve things much with respect to the 60 Hz problem. There are other parameters which could be tweaked, but at this point it would seem most promising to attack the 60 Hz spike problem directly using a different filter method. To deal with the this 60 Hz spike we can use a "band reject" filter, which removes a specific band of frequencies. We will use this in combination with the filtering that we have already done above. 25 After a small amount of experimenting I came up with the following. I also added in a 50 Hz filter while I was at it, for the benefit of those living in areas with 50 Hz electrical supply. These filters will be included in the show notes, so don't worry if you can't quite understand all the details from a verbal description. 26 Here's the FFMPEG version. # Using ffmpeg ffmpeg -i input.flac -af "highpass=f=80, lowpass=f=12000, bandreject=f=60:width_type=h:w=20, bandreject=f=50:width_type=h:w=20" output.flac 27 This as the following elements A high pass filter at 80 Hz, A low pass filter at 12 kHz, A band reject filter centred at 60 Hz and with a width of 20 hertz. A similar band reject filter centred at 50 Hz. 28 Here's the Sox version. # Sox version. sox input.flac output.flac highpass 80 lowpass 12000 bandreject 60 20 bandreject 50 20 Note that with sox, don't quote the filter definition strings or else it will result in an error as sox doesn't see enough parameters. This is not a problem with ffmpeg. 29 The band reject filter knocks the stuffing out of the 60 Hz line noise, and the 50 Hz parameter should do the same for that frequency as well. This basic filter should be able to be applied to any podcast audio recording without causing any problems. You can probably reduce the low pass frequency from 12 kHz down to 8 kHz without any problems, but I would suggest that you test it with your voice before making that decision. 30 I will come back to filtering out specific frequencies again later when I discuss how I solved a specific problem with the hardware that I am using. However, we have to discuss how to analyze audio signals before we can do that sort of technical troubleshooting, and I will cover that in a later episode. -------------------- 31 De-Essing An additional type of filtering is "de-essing". When recording audio, the microphone or environment may result in "s", "sh", "ch" and possibly other sounds to be exaggerated. These are all higher frequency elements of voice recordings. "De-essing" attempts to soften these sounds by selectively reducing the volume on the frequency band which contains these sounds. 32 Software Filters De-essing is accomplished via software filters. FFMPEG and Sox both have de-essing filters. For FFMPEG, the de-essing filter is built in. For Sox however, we must install an optional plug-in. I will cover this is more detail when I discuss using Sox for de-essing. 33 Do You Need De-Essing? The first thing to make clear however, is that you may not need to worry about this. If you think the audio sounds just fine the way it is, you don't need to do any de-essing to it. De-essing is a very subtle change, and you would probably need to do some careful before and after comparisons of audio samples to tell the difference. I didn't know that a thing called de-essing even existed before I started doing the research to make this podcast episode. However, at this point we are doing things more for fun than out of necessity, so I'll describe it anyway. 34 De-Essing with FFMPEG De-essing with FFMPEG is relatively simple. The filter is built in, and there are just three values to adjust. On the other hand, it is not really obvious what these values mean in practical terms. 35 I will however warn you to not rely on the AI search results from Google to understand this feature. The AI, in my experience, just makes stuff up about it and tells you to use options that don't exist and values that are not valid. I found that the only useful information came from FFMPEG's own web site, and from examples written by actual humans. 36 I then experimented with different values to see what effects they had. Since the results are rather subtle, fine tuning isn't really that necessary and I found that I could arrive at some reasonable values fairly quickly. I will provide the parameters that I found useful for me, and I suspect they would probably work for you as well. 37 Here is a typical de-essing command. ffmpeg -i inputfile.flac -filter_complex "deesser=i=0.5:m=0.5:f=0.5:s=o" -b:a 336k -sample_fmt s16 outputfile.flac 38 The important arguments are i, m, and f. i is intensity for triggering de-essing. The allowed range is 0 to 1. The default is 0. By experimentation I found that "0" means no de-essing, and "1" is maximum de-essing. I found that setting it to "0.5" gave satisfactory results. 39 m is the amount of "ducking on the treble part of sound". The allowed range is 0 to 1. The default is 0.5. By experimentation I found that "1" means no de-essing, and "0" is maximum de-essing. I found that setting it to "0.5" gave satisfactory results. 40 f is how much of the original frequency content to keep when de-essing. The allowed range is 0 to 1. The default is 0.5. By experimentation I found that "1" means no de-essing, and "0" is maximum de-essing. I found that setting it to "0.5" gave satisfactory results. 41 Setting "m" or "f" too high can result in a distorted output as too much of the original sound is cut out. The defaults of 0.5 in both cases gave audible improvements without noticeable distortion. 42 There is an additional parameter called "s". This controls whether the de-essing filter does anything. Setting it to "o" is the normal and default mode. Setting it to "e" causes it to output just the components that it would normally have filtered out. This is useful for testing purposes so you can see what and how much is being filtered. You only use this when experimenting with different values. Setting it to "i" causes the input to be passed through without de-essing. This would be useful in scripts where you want to use a variable to control whether or not to use the de-esser while still creating the expected output file. 43 There are two other elements of the command which were included but are not strictly speaking part of the de-essing filter itself . These are " -b:a 336k" and "-sample_fmt s16". " -b:a 336k" sets the audio bit rate to 336k. "-sample_fmt s16" sets the audio sample format to 16 bit. I found it necessary to specify these in order to prevent the de-essing filter from changing formats. They are not part of de-essing however. 44 De-Essing with Sox You can also de-ess with Sox. However, this is more complex for several reasons. One reason is that Sox does not have its own de-essing filters. Instead it uses optional plug-ins, and you must find and install these. The actual plug in may vary depending on what operating system you are using. The other reason is that it deals with the issue in fairly low level parameters, and so is a bit more complex to describe. Because of this I will skip over describing this in detail and just give a very brief overview. If anyone would like me to describe in more detail how to de-ess with Sox, then send in a comment and I will do a short episode on it later. 45 Sox De-Essing Overview To de-ess with Sox, you first need to install the plug-ins. On Linux, these will be the TAP ladspa plug-ins. TAP stands for "Tom's Audio Processing" plugins. ladspa stands for "Linux Audio Developer's Simple Plugin API" To install the TAP plugins on Ubuntu, using the following command. sudo apt install tap-plugins The plug-in we need is called "tap_deesser.so". 46 In order to use the plug-ins, you need to set the path as a variable. On Ubuntu this is. export LADSPA_PATH="/usr/lib/ladspa:" I put the above in the shell script which calls the Sox de-esser. 47 To use the Sox de-esser, you do the following: sox inputfile.flac outputfile.flac ladspa tap_deesser tap_deesser -30 4500 48 tap_deesser tap_deesser tells it which plugin to use. We need to state tap_deesser twice because the first is the name of the ".so" file and the second is the name of the plugin. A single "so" file can contain multiple filters, although in this case there is only one. -30 is the threshold in dB at which to start to apply the filter. 4500 is the frequency in Hz that the filter centres around. 49 The TAP web page has a table of recommended frequencies. These are: Male 'ess' 4500 Hz Male 'ssh' 3400 Hz Female 'ess' 6800 Hz Female 'ssh' 5100 Hz You will need to do some trial and error to find what works best for you. 50 De-Essing Summary De-essing can be used to make minor improvements to voice quality by reducing certain harsh sounds which may be exaggerated by a microphone. If it sounds like a lot of work you can probably simply not bother with it and not really miss it. -------------------- 51 Normalizing Normalizing a signal means adjusting it to meet a specified level. For audio it means adjusting the volume or sound level. You may wish to normalize the audio of your recording to make it easier to listen to when reviewing it. The copy that you send to HPR however should be the original un-normalized version. 52 Sound level is measured in two ways, dB and LUFS. The latter is a more sophisticated way of measuring things which takes into account how the human ear perceives loudness. I won't go into a lot of detail in that regards, other than to say that just accept LUFS as a unit of perceived loudness that is the international standard. LUFS stands for "Loudness Units referenced to Full Scale", and is part of the EBU R128 standard, where EBU stands for European Broadcast Union. In both cases the measured value is a negative number, with numbers smaller in magnitude being louder. Smaller in magnitude means closer to zero. 53 HPR will adjust the sound level for publication, but if you wish to check the audio before uploading it can help to adjust it to something close to what HPR will do so that you can listen to it at a volume which most listeners will hear. In my case full volume on the audio system input produced a sound level which was much lower than a typical HPR episode. However, the volume level in the flac file itself can be adjusted using ffmpeg. 54 Measuring Volume Level First we need to see what the volume level is for a typical HPR podcast. To do this we use ffmpeg. In this example we are using an episode named "hprpodcast.mp3". Pick an episode which you think is suitable and copy the file to the working directory. 55 In the following script we use a volumedetect filter. The text we want normally outputs to standard error, so we have to do a bit of bashery to redirect this to standard output so it will go through a pipe. We then grep for the string "I:". This will have the average volume level in "loudness units" (LUFS). Then we extract the number, giving us a target LUFS level. 56 ffmpeg -i hprpodcast.mp3 -filter:a ebur128=framelog=quiet -f null /dev/null 2>&1 | grep "I:" | cut -d: -f2 57 Unfortunately I can't find a Sox feature which handles EBU loudness, so we need to work in dB instead. Here is the sox version. However, note that this may not work on mp3s if sox mp3 handing is not installed. 58 sox hprpodcast.mp3 -n stats 2>&1 | grep "RMS lev dB" | rev | cut -d" " -f1 | rev 59 You can use either of these for measuring the volume or sound level of an audio file. However, note that individual episodes from HPR may vary a bit in terms of loudness. In the samples that I looked at, this however was less than 1 LUFS or dB while my own recording was roughly 5 LUFS lower in volume than a typical HPR episode. -------------------- 60 If you Google for the EBU R128 standard the AI result will confidently tell you to use a target of -23 LUFS. However, this is wrong, which shouldn't be of any surprise if you are familiar with using AI. 61 The -23 LUFS figure is for broadcast television. There is in fact no standard level for podcasts. However, there is apparently a general industry convention of using somewhere around -17 LUFS. If I look at the first two HPR episodes that I did, HPR normalized them to -16.8 LUFS and -17.8 LUFS, while the original FLAC files that I submitted were -21.6 LUFS and -22.3 LUFS respectively. 62 So HRP appear to be targeting somewhere around -17 LUFS as well. We will therefore use -17 LUFS as our target for our own copy for review. -------------------- 63 The nice thing about using the EBU filter in FFMPEG is that this is very simple. Here is the FFMPEG version. 64 ffmpeg -i inputfile.flac -af loudnorm=I=-17:TP=-2.0:LRA=7.0 -ar 44.1k outputfile.flac 65 "I" is the LUFS target. LRA is the loudness range target. The default value is 7.0 so I used that. TP sets the maximum true peak. The default value is -2.0. so I used that. -------------------- 66 With Sox things are a bit more difficult. There is no direct method of setting the loudness that I am aware of, so we need to measure the current sound level in dB, do some calculations, and then apply that as a gain factor to the output. 67 First we need to subtract the measured db level from our flac file from the target db level from the HPR episode we decided to use as a sample. Bash by itself normally just does integer math. However, we would like to have at least one decimal point of resolution to work with. The simple solution is to do this calculation using bc, the shell arbitrary precision calculator. 68 Then take this new value and use it in a "volume" filter. The number which we give sox is the amount to increase or decrease the volume by. Sox will then output a new file with the new volume level. You can now listen to this file under conditions more closely approximating what it will be like after HPR have done their own audio adjustments and normalizaton on it This helps when listening to the file for any problems before you upload it. 69 Rather than reading 5 lines of complex shell script to you, I will put a copy of it in the show notes. level=$( sox $inputfile -n stats 2>&1 | grep "RMS lev dB" ) leveldb=$( echo "$level" | rev | cut -d" " -f1 | rev ) targetdb="-18.9" volumechange=$(echo "scale=2 ; $targetdb - $leveldb" | bc ) sox $inputfile $outputname gain "$volumechange" -------------------- 70 Normalization should be the last thing you do to the file. It should be done after any noise filtering, such as low pass, high pass, bandreject, etc. If you normalize first, you will be amplifying the noise as well as the desired signal. 71 The exact normalization level used for review purposes doesn't matter, as HPR will apply their own later. All we are doing at this point is adjusting the volume to something which approximates a normal episode so you can listen to it for final review. 72 When you send your file to HPR, send the original *unnormalized* version, not the normalized version. When you normalize an audio signal, if you are not careful you may introduce things which cause problems with later additional processing. HPR probably do more things to the audio than just normalizing and so they need the unnormalized file so that they can do their own normalizing last. -------------------- 73 If at this point you are happy with the recording as is, you are ready to send the *unnormalized* version to HPR. The scripts to implement the features discussed in this episode will be in the show notes. 74 Conclusion In this episode we covered basic filtering using ffmpeg and sox. We discussed what noise was and some of the origins of noise. We talked about the audio frequency range and the limitations of common hardware used to record and listen to podcasts. We covered basic high and low pass filters used to limit the audio frequency range in order to remove possible low and high frequency noise. 75 We discussed specific filters to eliminate 50 and 60 Hz electrical power noise. We talked about de-essing, what it was, why you may wish to use it, and some basic de-essing filter implementation details. We discussed normalizing, what it is, why you may wish to use it, and how it relates to podcasting conventions. 76 In the next episode we will discuss analyzing audio signals to help find the sources of noise problems. We will also discuss creating filters to eliminate any problems that we found. In my case I had a problem with the microphone that I use, and I describe how I used filters to deal with that problem. 77 This has been the second episode in a four part series on simple podcasting. -------------------- EBU R128 Loudness Measurement using FFMPEG #!/bin/bash echo "EBU r128 loudness measurement using FFMPEG" for inputfile in *.flac *.mp3 ; do level=$( ffmpeg -i $inputfile -filter:a ebur128=framelog=quiet -f null /dev/null 2>&1 | grep "I:" | cut -d: -f2 ) echo $inputfile $level done -------------------- DB Sound Level Measurement using Sox #!/bin/bash # Sox version. May not work for mp3 if an mp3 format handling is not installed. echo "dB sound level measurement using Sox." for inputfile in *.flac *.mp3 ; do level=$( sox $inputfile -n stats 2>&1 | grep "RMS lev dB" ) leveldb=$( echo "$level" | rev | cut -d" " -f1 | rev ) echo $inputfile $leveldb done -------------------- EBU R128 Loudness Normalization using FFMPEG #!/bin/bash # Adjust the volume to a desired level. for inputfile in *.flac ; do j=$( basename $inputfile ".flac" ) outputname="$j""-normff.flac" ffmpeg -i $inputfile -af loudnorm=I=-17:TP=-2.0:LRA=4.0 -ar 44.1k $outputname echo $outputname done -------------------- DB Sound Level Normalization using Sox #!/bin/bash # Adjust the volume to a desired level. for inputfile in *.flac ; do j=$( basename $inputfile ".flac" ) outputname="$j""-normff.flac" # Measure the volume level and extract the mean volume. level=$( sox $inputfile -n stats 2>&1 | grep "RMS lev dB" ) leveldb=$( echo "$level" | rev | cut -d" " -f1 | rev ) # Calculate the difference in dB desired. Scale specifies the number of decimal places. # Target db is the volume measured on hpr4506 (UCSD-P-System). targetdb="-18.9" volumechange=$(echo "scale=2 ; $targetdb - $leveldb" | bc ) echo "Using sox: File: $inputfile Original level: $leveldb Change by: $volumechange" # Adjust the volume. sox $inputfile $outputname gain "$volumechange" done -------------------- Full processing pipeline for making simple podcasts using FFMPEG #!/bin/bash #!/bin/bash # Full processing pipeline for making simple podcasts. # ====================================================================== # Concatenate multiple flac files into a single flac file. # This is used to combine podcast recorded segments into a single # flac file for uploading to HPR. concataudio () { outputname="$1" # First create the list file. printf "file '%s'n" [0-9][0-9].flac > podseglist.txt # Now concatenate them ffmpeg -f concat -safe 0 -i podseglist.txt "$outputname" rm podseglist.txt } # ====================================================================== # Basic filters. filter () { inputfile=$1 outputname=$2 # Using ffmpeg. # The high and low pass filters. hlpfil="highpass=f=80, lowpass=f=12000" # Band reject filters filter for 60Hz and another for 50Hz. linefil="bandreject=f=60:width_type=h:w=20, bandreject=f=50:width_type=h:w=20" # Using ffmpeg ffmpeg -i $inputfile -af "$hlpfil, $linefil" $outputname } # ====================================================================== # De-Essing. deessing () { inputfile=$1 outputname=$2 option=$3 # De-essing filter. ffmpeg -i $inputfile -filter_complex "deesser=i=0.5:m=0.5:f=0.5:s=$option" -b:a 336k -sample_fmt s16 $outputname } # ====================================================================== # Normalizing the audio to EBU R128 standard for review using ffmpeg. normffmpeg () { inputfile=$1 outputname=$2 # Normalize to EBU R128 standard. ffmpeg -i $inputfile -af loudnorm=I=-17:TP=-2.0:LRA=4.0 -ar 44.1k $outputname } # ====================================================================== # Output an MP3 version to help with reviewing. mp3convert () { inputfile=$1 # Get the name of the file and then create the output file name. j=$( basename $inputfile ".flac" ) outputname="$j"".mp3" # Convert to MP3. ffmpeg -i $inputfile $outputname } # ====================================================================== # Concatenate the separate audio files. concataudio fullpod-unfiltered.flac # Basic filtering. filter fullpod-unfiltered.flac filtered.flac # De-essing. This is the version to send for publishing. # The third argument should be "o" for de-essing, or "i" for pass through without de-essing. deessing filtered.flac fullpod.flac o # Normalized for review. normffmpeg fullpod.flac fullpod-norm.flac # Output an MP3 copy for review. mp3convert fullpod-norm.flac -------------------- -------------------- Provide feedback on this episode.

In this episode of the GaryVee Audio Experience, I sit down for a Q&A to discuss the biggest marketing arbitrage available right now: LinkedIn. I break down why it's currently mirroring the 2011 era of Facebook and why you need to stop making excuses and start posting. I also dive deep into the operational realities of building a $100 million agency, the importance of "documenting" over "creating," and why your biggest growth will come from the word "no." You'll learn about:The Current Arbitrage on LinkedInWhy You Should Be in the "Mickey Mouse" BusinessThe "Document, Don't Create" Content StrategyHow to Scale a Service Business through HR

If you have tried every chore chart, reward system, and screen time bribe and nothing has stuck, then this episode is going to completely reframe the way you think about kids and contribution. I'm sharing why external reward systems actually work against what we're trying to build, the difference between chores and family contributions, and the three-step system I use in my own home to set clear expectations that actually hold. This one comes straight from my Montessori background and years of coaching families — and it might be the most important parenting and systems episode I've done. Plus — my complete home management system is a free bonus right now when you apply to Systemize to Scale. xoxo, Chelsi Jo . . . . . Join Systemize to Scale + Home Management System Bonus My complete home management system is included as a free bonus when you apply right now.

In this episode of Spaghetti on the Wall, we sit down with Michael “Mike” Morse—founder of one of the largest personal injury law firms in Michigan and a leader behind the Fireproof performance model.Michae breaks down how law firms can scale without chaos by implementing systems, embracing delegation, and building teams that allow founders to step out of the day-to-day grind.From surviving a devastating office fire to growing a firm from 20 employees to nearly 300, Mike shares the real strategies behind sustainable growth—and why most law firm owners stay stuck.You'll learn:How to delegate effectively and unlock true scaleWhy most law firms struggle to grow beyond a certain pointThe “Fireproof” framework for building resilient businessesHow mindset and self-awareness impact leadership successWhat it takes to build freedom—not just revenue—in your firmHow AI is changing (and confusing) the legal landscapeIf you're a law firm owner, entrepreneur, or business leader looking to scale smarter and build a business that can withstand anything—this episode is a must-watch.#MichaelMorse #LawFirmGrowth #LegalMarketing #EntrepreneurMindset #BusinessScaling #EOS #Fireproof #Leadership #Podcast #SpaghettiOnTheWall

In today's episode, I'm sharing what's actually happening behind the scenes right now as I scale — from launching our new Embodied headquarters, to hiring in-person for the first time, to testing twice-a-day content posting. But more than the updates, I want to talk about the mindset behind all of it, because I got kicked out of my gym six months ago and it ended up changing my business in a way I never saw coming. If you've been resisting change or forcing things to happen on your timeline, you need to hear this one.

The Grant Mitt Podcast #157 It's Better to be Decisive than right. How to Use Speed to Your Advantage Work w/ me DM me "Scale" on my IG https://www.instagram.com/grantmitt Learn more about your ad choices. Visit megaphone.fm/adchoices

Government contracting certifications like CMMC, ISO, and CMMI are no longer optional — they're the difference between standing out and getting buried in a pile of minimum-qualified vendors. In this episode, a seasoned IT govcon professional breaks down the exact moves small businesses need to make to get their foot in the door and grow once they're in. You'll learn: Why niche certifications win contracts — With CMMC Level 2 deadlines approaching, the shortage of certified companies is your window to stand apart from competitors still meeting bare minimums How security clearance sponsorship actually works — There is no application you can submit; you have to create value first, and this episode shows you exactly how to position yourself to get sponsored Subcontracting as a low-risk entry strategy — Learn why starting as a sub gives you past performance, prime relationships, and critical compliance knowledge without carrying all the risk Fractional support and contract funding — Discover how to build a back office with SME-level talent on a startup budget, and why getting funded before you win is non-negotiable OASIS Plus and contract vehicle timing — Why you need to start the onboarding process now, and how to use the Mentor-Protege Program to unlock reimbursable expenses and government-backed growth EPISODE CHAPTERS: 0:00 - Welcome to the Federal Help Center Podcast 0:31 - How to add value and address government pain points 1:29 - Niche certifications that set your company apart 2:27 - Subcontracting strategy for low-risk market entry 3:19 - How security clearance sponsorship really works  5:15 - Building your govcon growth strategy from the ground up 5:44 - Fractional support and getting your business funded 7:36 - OASIS Plus onboarding and contract vehicle timing 8:33 - Networking, mentors, and the Mentor-Protege Program If you want to learn more about the community and to join the webinars go to: https://federalhelpcenter.com/ Website: https://govcongiants.org/ Connect with Encore Funding: http://govcongiants.org/funding

This is the year creators stop marketing reactively and start creating intentionally.No more scattered content.No more random promotions.No more creating without a clear path for growth.This is the year of strategy.Structure.Systems.Simplicity.Scale.In this episode, I'm breaking down how to create a Marketing Plan that helps you grow your audience, increase your visibility, and create more impact, influence, and income as a creator and CEO.Because we're no longer just creating content.We're creating offers.We're creating funnels.We're creating ecosystems.We're creating brands that convert.Inside this episode, I break down:1️⃣ Marketing objectives, goals + execution2️⃣ Strategy, structure + systems for scalable growth3️⃣ One core offer + one funnel focus4️⃣ Freebies, add-ons, upsells + payment plans5️⃣ B2B2C marketing + long-term brand partnerships6️⃣ AI + automation for engagement and conversions7️⃣ SEO, blogs + email to drive traffic8️⃣ Tech + tools like ClickUp, Notion, Kajabi, HoneyBook + ManyChat9️⃣ Repurposing content across platforms with ease

Protection and performance don't have to be a trade-off. IAS' CEO, Lisa Utzschneider, and TikTok's VP Product Management & Head of Monetization Product Solutions & Operations, David Kaufman, explain how a leading global measurement and optimization company and a fast‑growing social platform work together to ensure digital ads are viewable, human and adjacent to brand‑safe, brand‑suitable content.

Resolve Disputes Faster, Scale Bigger! Fix Fights FAST To Supersize Your Business! Annual Challenge Day 104! Pop in here every day for a dose of different business building perspective: https://facebook.com/supersizebusiness #supersizeyourbusiness #supersizechallenge #supersizeyourbusinessannualchallenge #supersizeyourbusinesschallenge #communication #disagreement #healthyconflict #fixfight #conflictresolution #seekresolution

Welcome to RIMScast. Your host is Justin Smulison, Business Content Manager at RIMS, the Risk and Insurance Management Society.   In this episode, Justin interviews SERMC members Suzanne Christensen and Trisha Sqrow about the new RIMS Executive Report they co-authored with Joe Pugh, also of the SERMC, "Board Risk Reporting: How to Deliver Insights that Matter." Suzanne and Trisha share tips for preparing to report to your board, how frequent reporting should be, and the difference between the board's oversight and the executive team's management. Trisha also shares descriptions of her two upcoming RISKWORLD presentations on May 6th. Listen for insight on providing the board with the information they need to support the organization's objectives and strategies.   Key Takeaways: [:01] About RIMS and RIMScast. [:14] Public registration is open for RISKWORLD 2026, which will be held from May 3rd through 6th in Philadelphia. Visit RIMS.org/RISKWORLD to register. [:27] About this episode of RIMScast. Our topic is board reporting and ERM, and our guests are Trisha Sqrow and Suzanne Christensen of the RIMS Strategic and Enterprise Risk Management Council. They've co-authored a new Executive Report. We're going to talk all about it. But first… [:58] RIMS Virtual Workshops. The next RIMS-CRMP Exam Prep Course will be on April 21st and 22nd, and then again on June 9th and 10th. Registration links are in this episode's notes. [1:14] Webinars. On April 16th, Zurich and World Travel Protection will present "Navigating the New Global Risk Landscape: Lessons for Business Travelers in Unstable Times". [1:24] On May 14th, Origami Risk will return with a new session, "Future-Proofing Your Risk Program: Keeping Pace with Scale, Complexity, and Visibility." Register for webinars at RIMS.org/webinars and through the links in this episode's show notes. [1:39] Folks, for more RIMS content, head over to YouTube and subscribe to @RIMSOfficialChannel. There you will find video podcasts, RIMScast Canada video podcasts, and other informative and entertaining content from RIMS. [1:55] Head over to RMMagazine.com for the Q1 Edition of the Azbee-Award-winning publication, RIMS Risk Management Magazine. [2:06] On with the Show! Our guests are Suzanne Christensen and Trisha Sqrow. As members of the RIMS Strategic and Enterprise Risk Management Council, they co-authored the new RIMS Executive Report, "Board Risk Reporting: How to Deliver Insights that Matter." [2:24] Co-authored by Joe Pugh of the AARP, a RIMS Strategic and Enterprise Risk Management Council member, the report provides practical insights and guidance to risk practitioners who report to their organization's board of directors or overarching governance committees. [2:38] The report provides guidance on aligning this reporting with the board's role and expectations, the steps that should be taken to sustain the alignment, and how to ensure reporting provides the board with the appropriate level of detail. [2:52] The link to the report is available in this episode's show notes. You can also visit the Risk Knowledge section of RIMS.org. If you like what you read and you like what you hear today, be sure to hear Patricia and Joe at RISKWORLD on May 6th at 11:30 a.m. in Room 119-AB. [3:11] They will extend the dialog with the session "From Risk Aware to Risk Savvy: Elevating Board-Level Risk Reporting and Engagement." It will undoubtedly be a fantastic session! [3:21] Let's talk about board reporting right now! [3:23] Interview! Suzanne Christensen and Trisha Sqrow, welcome back to RIMScast! [3:31] Suzanne Christensen and Trisha Sqrow have been carrying the torch for the Strategic and Enterprise Risk Management Council at RIMS for years. Now, they are rejoining us on RIMScast. It's a delight to welcome them both back. [3:57] The new RIMS Executive Report, "Board Risk Reporting: How to Deliver Insights that Matter," was co-authored by Suzanne Christensen and Trisha Sqrow, with Joe Pugh, who is also on the Strategic and Enterprise Risk Management Council. [4:15] This paper is available for a limited time exclusively to RIMS members. It will then be open to the public. There's a lot of great information in it, and it gets right to the point. [4:40] Research shows that while many risk professionals believe their reporting supports board decision-making, most boards are still asking for more information and deeper analysis. [4:47] Trisha says, boards are becoming more interested in understanding the risk profile of the organization, what's being done, and how leadership is managing risk, because we are in a complex time. There are so many risks that are not internal. [5:33] The board is asking: How do we look at this, how can we manage what we can, and prepare for and respond to those things that we can't manage, but that could come and hit us? [5:47] Boards are more interested. They have regulatory concerns and requirements, potential liability, and things of that nature. [6:07] Suzanne agrees with Trisha about the complexity in our post-COVID world with the interconnectedness of risks and the unexpected. Regarding the pace of change, Suzanne says hang onto your seats right now, particularly with AI! [6:30] Boards serve a lot of constituents and stakeholders, and they're feeling pressure. They're looking for more insightful analysis. The report gets into how to figure out what is insightful to a board. Justin notes that each board will have a different definition of insightful. [6:58] One board can change over time as different board members bring different dynamics and expectations to the board. The paper has a point about keeping pace with the board. [7:18] The paper makes the point that effective board reporting is not about what risk teams want to say but about what boards need to hear. [7:43] Suzanne breaks down the difference between the need that the board knows and understands, and articulates, and the things they should also know, to be good board members. That takes exploration. There are things the board might not know to ask. [8:10] Risk professionals have knowledge and context. They need to lean in and say, "You're asking for this, and that's super important, but in addition, here are some other things to be aware of." You need to start with a mutual understanding. There's a process to go through. [8:31] Trisha says the risk practitioner has the largest view of the risk profile of the organization. The board is thinking more of strategic goals and objectives, but they do want to know about the risk. Board risk reporting is a matter of working to connect strategy with risk management. [9:07] The risk practitioner can develop a culture of discussion and openness to discuss risks, mitigations, and possible blind spots. [9:26] Suzanne says one of the primary roles of the board is to make sure the firm has the right strategy and they're executing it appropriately. The biggest risk to the board is becoming irrelevant to constituents and clients. Not all key risks to the organization are equal to the board. [9:59] The board spends more time on the strategic risks. When reporting, you can't forget the operating risks. You can summarize them as "Here are some things to look at that we've got covered. So, let's spend more time over here." [10:46] If you don't first build alignment with executive management before engaging with the board, Suzanne says you'll end up with a modern-day Babylon. You won't end up with support from the key risk owners on the strategic side. The owners of the risk are the decision-makers. [11:02] The decision-makers are management and executive management. It has to be their story, and they have to buy in. Risk practitioners are the facilitators to create that alignment so those conversations can be robust, open, and transparent. [11:44] Trisha says the executive leadership team (ELT) is the liaison and connection to the board. Most risk practitioners may not be in all of the board meetings or interacting with the board regularly. The executive leaders probably are. [12:05] The ELT can bridge the gap. They have the relationships and know the personalities of the board members. They understand how the board likes to receive information and can help the risk practitioner develop reports in that way. They can open the line of communication more. [12:28] Trisha says that in her previous work for DFW Airport and others, they did this through the structure of the Enterprise Risk Management program, having a risk council report periodically to the ELT, so they have the information and can go forth with it. [13:17] Suzanne says the best practice is to spend some prep time to get some baseline knowledge and level-setting across, so when you go into those meetings, the conversations will be richer. You're not educating. You're getting right to what you want to focus on in your report. [13:58] There are different methods for doing that, depending on the organization, with its aptitude and appetite. You can do it in a pre-conversation setting, starting with the ELT, so that they're part of that conversation, helping to drive it. That is ideal. [14:21] A Quick Break! RISKWORLD 2026 will be held from May 3rd through the 6th in Philadelphia, Pennsylvania. RISKWORLD attracts more than 10,000 risk professionals from across the globe. It's time to Connect, Cultivate, and Collaborate with them. [14:41] Public registration is open, and booth sales are still available. Links are in this episode's show notes, and be sure to check out RIMS.org for more information. [14:50] We will kick off Day 1 with a conversation with Adam Grant. He is an organizational psychologist, best-selling author, and a leading influential management thinker. [14:59] The excitement continues with the announcement of the closing keynote speaker. NFL Hall of Famer, Super Bowl Champion, Emmy-winning broadcaster, and entrepreneur Michael Strahan will be on the main stage on May 6th. Justin is super stoked! [15:15] If you're still on the fence, this is the time to smash that Register button and hear from one of the all-time greats. [15:23] The RIMS Western Regional Conference will be held from October 4th through the 7th in Seattle, Washington. Registration is open, and you can also submit a session. Visit RIMSWesternRegional.com and the link in this episode's show notes for more information. [15:42] Let's Return to Our Interview with Suzanne Christensen and Trisha Sqrow! [16:10] Suzanne says you want to exude confidence when you initiate a risk dialogue with executive leaders and the board, but you don't want to look so buttoned-up that when something does go bump, they look at you and say they thought you had that covered. [16:42] Trisha says it's very important to build those relationships as you can, so you have direct knowledge of the primary stakeholders you are working with, and so you can communicate better with them and provide good, insightful tidbits of knowledge. [17:10] Boards are to maintain oversight and not get down into the management level. [17:22] Suzanne says good reputational risk management establishes credibility up front, without appearing confident that you can prevent every risk from happening. Something big could happen. You need a good business crisis plan. The board could be involved in a crisis. [18:26] Boards need to be risk savvy, not just risk-aware. The educational part is helping the board understand the organization and the key risks to it. Then they need to be actively engaged so they're asking better questions and leveraging that knowledge to make better decisions. [18:44] That's the evolution you're working on. It's ideal to do some of the educational work up front so you don't have to do it in real-time. It helps to get quickly to the risk-savvy, better decision-making piece. [19:12] Trisha explains the difference between being risk-informed and risk savvy. When you learn risk at the basic level, you know the nuts and bolts. Becoming risk savvy is understanding how it all integrates together. How do we start seeing what risks are interconnected? [19:40] Trisha asks how we see how the external factors that we face in the world could impact our strategic goals and initiatives. You need to mitigate risks, plan, and prepare for them, and think through your overarching organizational resiliency. [20:07] The risk practitioner doesn't just present a list of risks and mitigation plans. They say, here's what we're seeing and how this could impact that. Here are the systemic issues, and talk about what we are doing from that larger perspective. [20:32] Suzanne thinks it's important not to be backward-looking but to have foresight and look around the corner at what's ahead and ask how we can be more nimble as we charge forward. How can we adapt better to the new environment and manage risks in real-time? [20:53] That all helps to build foresight and the ability to think about what could go awry, or what new opportunity we need to take to achieve our goals. These are important points to being risk savvy. [21:29] Suzanne says in some organizations, board reporting is not happening. There is zero cadence. Some organizations report almost quarterly. In those cases, is the board providing oversight or management? [22:06] Consider how much information and what you are reporting; insights beat volume. What are the insights you need the board to know? Determine the level of information the executive team, the audit compliance committee, and the full board need. It's organization-specific. [22:47] Trisha addresses information overload. If you can get some pre-read out there, so that you can then have a conversation, that's ideal. Think about what decisions they need to make to know what information they will need to have in hand to make those decisions. [23:14] The decisions that are being made are different, depending on the group you are reporting to. Strategic decisions are going to need this information; operational decisions will need this other information. [23:39] Another Quick Break! The Spencer Educational Foundation's Risk Manager on Campus application period opened on April 1st, 2026, and it will close on June 30th. Grant awardees, colleges, and universities are typically notified in September. [24:00] The Course Development Grant application deadline for Interval Number 2 will be on June 15th, 2026. Award notifications will be sent out in late July. [24:15] General Grant applications will open on May 1st, 2026, and the application deadline is July 30th. Internship Grant applications open on August 15th and close on October 15th. [24:27] Links to each of these grants are in this episode's show notes. Visit SpencerEd.org for more information. [24:36] Let's Conclude Our Interview with Suzanne Christensen and Trisha Sqrow! [25:21] Justin asks about rightsizing, in terms of reporting. Suzanne says there is a set of goals or objectives behind right-sizing. When you get to the objectives, you can think about how you rightsize for those objectives. What do they need to know to make those decisions? [25:59] Trisha agrees. It goes back to understanding the audience and what they like to see, and saying, here are things that we need decisions on, or we need your thought process on. [26:21] Trisha has two sessions on Wednesday, May 6th, at RISKWORLD. The first one is with Katrina Gilbert from the DFW Chapter, "Kickoff to Resilience: A Case Study in Risk Management Strategies for Major Event Planning," from 10:15 a.m. to 11:15 a.m. [26:49] Fifteen minutes later, Trisha will present "From Risk Aware to Risk Savvy: Elevating Board Level Risk Reporting and Engagement," with co-author Joe Pugh from AARP. [27:12] Trisha says there's a responsibility on the board to know that the program is operating as it should, it's bubbling up information that should be bubbled up, they're getting exception reporting, and they have confidence that it's coming their way; it's not haphazard. [27:44] There is a little bit of time that has to be spent talking about the program and how the board can have confidence in it. It doesn't have to be a long story. It's "Here's what we're focused on. Here's how we know we're good. We've done a benchmark. We know we keep it current." [24:12] Suzanne says you want to enable informed oversight. You want to think through what they would need so that they can provide oversight to you. [28:18] You need forward thinking, looking at not only what's happening now, but also at what the potential emerging risks are. What are we watching for? How are we preparing for those things? Work to engage the board as you go forward. [28:33] Trisha says to get feedback on an ongoing basis. It's helpful to do annual surveys, but it's also asking in real-time, "Does this make sense; are you getting what you need?" [28:49] You can tell, based on the engagement, the level of discussion, and their questions. They should be asking insightful questions. That allows you to tell a deeper story because they're obviously interested in it. It's not a one-and-done. [29:30] Trisha says it's an honor to be able to speak at RISKWORLD or any RIMS event. She thanks the RIMS team, the SERMC, and others across the committees that selected the sessions. She is really excited to have the opportunity to do both sessions. [29:51] The "Large Event Planning" session will focus on what the DFW Airport has done to prepare for the FIFA World Cup, considering what it looks like to apply enterprise risk management to something of this magnitude and scale. [30:11] Katrina will do a case study, and Trisha will talk about higher-level issues. [30:17] The "Board Reporting" session will showcase the executive report just published that she co-authored. Trisha's excited. She understands her commute is just next door, which helps a lot since they are just 15 minutes apart. [30:43] Justin says we appreciate both of you for all the contributions you've made to RIMS through the years. I look forward to seeing you at RISKWORLD. Thank you for being such wonderful champions of the Strategic and Enterprise Risk Management Council here at RIMS! [31:04] Special thanks again to Trisha Sqrow and Suzanne Christensen for joining us on RIMScast. Check out the new RIMS Executive Report, "Board Risk Reporting: How to Deliver Insights that Matter." The link is in this episode's show notes and at RIMS.org/risk-knowledge. [31:24] The dialogue about board reporting and this executive report will be extended at RISKWORLD on May 6th. Trisha and her other co-author, Joe Pugh of AARP, will lead the session "From Risk Aware to Risk Savvy: Elevating Board-Level Risk Reporting and Engagement." [31:42] That session will be held in Room 119-AB. Prior to that session, Trisha will be co-presenting the session "Kickoff to Reslience: A Case Study in Risk Management Strategies for Major Event Planning," in Room 118-BC with her former DFW colleague, Katrina Gilbert. [32:04] If you haven't done so already, be sure to register for RISKWORLD at RIMS.org/RISKWORLD.  [32:10] Plug Time! You can sponsor a RIMScast episode for this, our weekly show, or a dedicated episode. Links to sponsored episodes are in the show notes. [32:39] RIMScast has a global audience of risk and insurance professionals, legal professionals, students, business leaders, C-Suite executives, and more. Let's collaborate and help you reach them! Contact pd@rims.org for more information. [32:57] Become a RIMS member and get access to the tools, thought leadership, and network you need to succeed. Visit RIMS.org/membership or email membershipdept@RIMS.org for more information. [33:15] Risk Knowledge is the RIMS searchable content library that provides relevant information for today's risk professionals. Materials include RIMS executive reports, survey findings, contributed articles, industry research, benchmarking data, and more. [33:31] For the best reporting on the profession of risk management, read Risk Management Magazine at RMMagazine.com. It is written and published by the best minds in risk management. [33:45] Justin Smulison is the Business Content Manager at RIMS. Please remember to subscribe to RIMScast on your favorite podcasting app. You can email us at Content@RIMS.org. [33:57] Practice good risk management, stay safe, and thank you again for your continued support!   Links: RISKWORLD 2026 Registration — Open for exhibitors, members, and non-members! Reserve your booth at RISKWORLD 2026! Board Risk Reporting: How to Deliver Insights That Matter: Press Release | Download Paper Spencer Educational Foundation — Scholarships and Grants | Open Calls and Timelines. RIMS-CRO Certificate Program In Advanced Enterprise Risk Management | July‒Sept. 2026 Cohort | Led by James Lam RIMS Western Regional Conference — Oct. 4‒7, 2026 | Seattle, WA | Register Today and Submit an Educational Session! 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"Risk Rotation with Lori Flaherty and Bill Coller of Paychex" "Energizing ERM with Kellee Ann Richards-St. Clair" "Talking ERM: From Geopolitical Whiplash to Leadership Buy-In" "Tom Brandt on Growing Your Career and Organization with ERM"   Sponsored RIMScast Episodes: "Secondary Perils, Major Risks: The New Face of Weather-Related Challenges" | Sponsored by AXA XL (New!) 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RIMS Virtual Workshops On-Demand Webinars RIMS-Certified Risk Management Professional (RIMS-CRMP) RISK PAC | RIMS Advocacy RIMS Strategic & Enterprise Risk Center RIMS-CRMP Stories — Featuring RIMS President Manny Padilla!   RIMS Events, Education, and Services: RIMS Risk Maturity Model®   Sponsor RIMScast: Contact sales@rims.org or pd@rims.org for more information.   Want to Learn More? Keep up with the podcast on RIMS.org, and listen on Spotify and Apple Podcasts.   Have a question or suggestion? Email: Content@rims.org.   Join the Conversation! Follow @RIMSorg on Facebook, Twitter, and LinkedIn.   About our guests: Suzanne Christensen, RIMS Strategic and Enterprise Risk Management Council Trisha Sqrow, RIMS Strategic and Enterprise Risk Management Council   Production and engineering provided by Podfly.

Resolve Disputes Faster, Scale Bigger! Fix Fights FAST To Supersize Your Business! Annual Challenge Day 104! Pop in here every day for a dose of different business building perspective: https://facebook.com/supersizebusiness #supersizeyourbusiness #supersizechallenge #supersizeyourbusinessannualchallenge #supersizeyourbusinesschallenge #communication #disagreement #healthyconflict #fixfight #conflictresolution #seekresolution

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Marc has been putting pen to paper for over 20 years, and it isn't just for "keeping a diary." In this solo episode, he breaks it all down and reveals his personal journaling process and what has sparked some of his biggest business breakthroughs. It's time to clear the mental clutter and actually track your daily wins! If you want to see how much you've really grown since starting your coaching business, grab a pen, open your journal and just get started. What You'll Hear In This Episode: The power of putting pen to paper and why Marc follows the Robin Sharma philosophy of journaling. Tips for free-flow idea generation and the business breakthroughs you can achieve by doing this. A look at why Marc transitioned from standard gratitude lists to recording daily wins to better track professional momentum. Some of the ways in which journaling reveals patterns in bad habits and provides clarity for tough business choices. Why revisiting old journals is the only way to see how far you've actually travelled. A reminder that your journal is for your eyes only and something to keep in mind that will give you total mental freedom in your journaling process. LINKS:  Moleskine Journals Need help launching a podcast or editing your current show? This podcast is proudly sponsored, edited and produced by PodAssist. Visit their website below for more info!  http://www.podassist.com Book a no-obligation 1:1 strategy call with Marc for your coaching business: http://www.chatwithmarcm.com If you'd like more coaching clients without sending cold messages or spending money on ads, the Natural Born Coach Program is for you. Get the details here! http://www.nbcprogram.com Join The Coaching Jungle Facebook Group! http://www.thecoachingjungle.com Become a Coaching Jungle VIP member which includes special posting perks in the group to reach almost 30,000 potential clients! http://www.myjunglevip.com Grow your business with The Coaching Jungle Mastermind! http://www.coachingjunglemastermind.com If you have a product or service that helps coaches, and you'd like to get it in front of 100,000 of them: http://www.jvwithmarc.com

https://m.ebay.co.uk/sch/i.html?sid=tindogpodcast&_pgn=1&isRefine=true&_trksid=p4429486.m3561.l49496 Atlantis: The Lost Empire is a 2001 American animated science fiction adventure film directed by Gary Trousdale and Kirk Wise, produced by Don Hahn, and written by Tab Murphy. Produced by Walt Disney Feature Animation, it stars Michael J. Fox, James Garner, Cree Summer, Don Novello, Phil Morris, Claudia Christian, Jacqueline Obradors, Florence Stanley, David Ogden Stiers, John Mahoney, Jim Varney, Corey Burton and Leonard Nimoy. Set in 1914, the film follows young linguist Milo Thatch, who gains possession of a sacred book, which he believes will guide him and a crew of mercenaries to the lost city of Atlantis. Development of the film began after production had finished on The Hunchback of Notre Dame (1996). Instead of another musical, directors Trousdale and Wise, producer Hahn, and screenwriter Murphy decided to do an adventure film inspired by the works of Jules Verne. Atlantis: The Lost Empire was notable for adopting the distinctive visual style of comic book artist Mike Mignola, one of the film's production designers. The film made greater use of computer-generated imagery (CGI) than any of Disney's previous traditionally animated features and remains one of the few to have been shot in anamorphic format. Linguist Marc Okrand constructed an Atlantean language specifically for use in the film. James Newton Howard provided the film's musical score. The film was released at a time when audience interest in animated films was shifting away from traditional animation toward films with full CGI. Atlantis: The Lost Empire premiered at the El Capitan Theatre in Hollywood, Los Angeles, on June 3, 2001, and went into its general release on June 15. The film received mixed reviews from critics. Budgeted at around $90–120 million, Atlantis grossed over $186 million worldwide, $84 million of which was earned in North America; its lackluster box office response was identified as a result of being released in competition with Shrek, Lara Croft: Tomb Raider, The Fast and the Furious and Dr. Dolittle 2. As a result of the film's box office failure, Disney cancelled a planned spin-off animated television series, Team Atlantis; an underwater Disneyland attraction; and a volcanic Magic Kingdom attraction based on it. Atlantis was nominated for several awards, including seven Annie Awards, and won Best Sound Editing at the 2002 Golden Reel Awards. The film was released on VHS and DVD on January 29, 2002, and on Blu-ray on June 11, 2013. Despite its initial reception, reception in later years became favorable and has given Atlantis a cult following[5] and reappraisal from critics as a mistreated classic, due in part to Mignola's unique artistic influence.[6][7] A direct-to-video sequel, Atlantis: Milo's Return, was released in 2003. Plot In 1914 Washington, D.C., archaeo-linguist Milo Thatch obsesses over finding the legendary lost city of Atlantis, believed to have sunk thousands of years ago. His employers ridicule his theories, but he gains an unexpected ally in eccentric millionaire Preston B. Whitmore, a friend of Milo's deceased adventurer grandfather who also sought the city. Determined to honor his old friend's quest, Whitmore recruits Milo for an expedition to Atlantis, having recently uncovered the Shepherd's Journal, an ancient Atlantean manuscript that contains directions to the lost city. Aboard the submarine Ulysses, Milo meets his teammates: Commander Lyle Tiberius Rourke, Lieutenant Helga Sinclair, demolitions expert Vincenzo Santorini, geologist Gaetan "Mole" Molière, medical officer Joshua Sweet, mechanic Audrey Ramirez, radio operator Wilhelmina Packard, mess cook Jebidiah "Cookie" Farnsworth, and a platoon of mercenaries. Upon reaching a cave entrance leading to the lost city, the submarine is destroyed by a massive mechanical leviathan, killing most of the crew. Milo and the survivors escape in smaller craft, navigating through the cave to emerge among ancient ruins. Milo translates the journal, guiding the team through caves beneath a dormant volcano until they reach the worn remains of Atlantis. There, they are greeted by Princess Kidagakash "Kida" Nedakh, who, despite being around 8,500 years old, has the appearance of a young woman. She leads them to her father, King Kashekim, who orders them to leave. Learning that Milo can read their language—a skill lost to the Atlanteans over millennia—Kida asks for his help in uncovering their forgotten history and highly-advanced technology, without which the city has declined and resources have dwindled. Milo learns that Atlantis is powered by the Heart of Atlantis, a massive crystal that grants longevity and health to its citizens through the smaller crystals they carry. Rourke betrays Milo and the Atlanteans, revealing his true intention to steal the Heart for profit, despite knowing the Atlanteans will perish without it. He mortally wounds the King while seizing control and uncovers the crystal's hidden location beneath the city. Sensing the danger, the crystal merges with Kida, who is then captured by Rourke. He departs with the crystallized Kida and his mercenaries, except for Vincenzo, Molière, Sweet, Audrey, Packard, and Cookie, who refuse to take part in the Atlanteans' destruction. Before dying, the King reveals that Atlantis was devastated by a megatsunami after he attempted to weaponize the crystal's vast power. To protect the city, the crystal merged with a royal family member, Kida's mother. This created a protective dome over the city's inner district, shielding it from total destruction as Atlantis sank beneath the waves, but Kida's mother never returned. To prevent the crystal from ever merging with Kida, the King hid it, inadvertently accelerating Atlantis' decline. He warns Milo that Kida will be lost forever if she is not soon separated from the crystal and pleads with him to save her. Alongside his allies, Milo rallies the Atlanteans to reactivate their long-dormant flying machines. Together, they eliminate Rourke and his mercenaries in the volcano. Milo and the others fly the crystallized Kida back to Atlantis as the volcano erupts. Kida ascends into the air and awakens Stone Guardians, who erect a barrier that shields the city from the lava flow. With Atlantis saved, the crystal separates from Kida and remains suspended in the sky. Milo chooses to stay in Atlantis with Kida, having fallen in love with her. Before returning to the surface, Vincenzo, Molière, Sweet, Audrey, Packard, and Cookie each receive a small crystal and a share of treasure. The six reunite with Preston on the surface and agree to keep their adventure a secret to protect Atlantis. Preston opens a package from Milo containing his own crystal and a note thanking him. The newly crowned Queen Kida and Milo carve a stone effigy of her father to join those of past rulers floating beside the Heart of Atlantis, as the city stands restored to its former glory. Voice cast Production layout sketch of Milo and Kida. Milo's character design was based in part on sketches of the film's language consultant, Marc Okrand. Michael J. Fox as Milo James Thatch, a linguist and cartographer at the Smithsonian who was recruited to decipher The Shepherd's Journal while directing an expedition to Atlantis. James Garner as Commander Lyle Tiberius Rourke, the leader of the band of mercenaries for the Atlantean expedition. Cree Summer as Kidagakash "Kida" Nedakh, the Princess of Atlantis and Milo's love interest. Natalie Strom provided dialogue for Kida as a young child. Summer also voiced the unnamed Queen of Atlantis, Kida's mother and Kashekim's wife who was "chosen" by the Crystal during the sinking of the city. John Mahoney as Preston B. Whitmore, an eccentric millionaire who funds the expedition to Atlantis. Lloyd Bridges was originally cast and recorded as Whitmore, but he died before completing the film. Mahoney's zest and vigor led to Whitmore's personality being reworked for the film.[8] Claudia Christian as Lieutenant Helga Katrina Sinclair, Rourke's German-born second-in-command. Don Novello as Vincenzo "Vinny" Santorini, an Italian demolitions expert. Phil Morris as Dr. Joshua Strongbear Sweet, a medic of African-American and Arapaho descent. Jacqueline Obradors as Audrey Rocio Ramirez, a Puerto Rican mechanic and the youngest member of the expedition. Corey Burton as Gaetan "Mole" Molière, a French geologist who acts like a mole. Jim Varney as Jebidiah Allardyce "Cookie" Farnsworth, a Western-style chuckwagon chef. Varney died in February 2000, before the production ended, and the film was dedicated to his memory. Steven Barr recorded supplemental dialogue for Cookie. Florence Stanley as Wilhelmina Bertha Packard: an elderly, sarcastic, chain-smoking radio operator who is also the expedition's photographer. Leonard Nimoy as Kashekim Nedakh, the King of Atlantis and Kida's father. David Ogden Stiers as Fenton Q. Harcourt, a board member of the Smithsonian Institution who dismisses Milo's belief in the existence of Atlantis. Production Development The production team visited New Mexico's Carlsbad Caverns to get a sense of the underground spaces depicted in the film. The idea for Atlantis: The Lost Empire was conceived in October 1996 when Don Hahn, Gary Trousdale, Kirk Wise, and Tab Murphy lunched at a Mexican restaurant in Burbank, California. Having recently completed The Hunchback of Notre Dame,[9] the producer, directors and screenwriter wanted to keep the Hunchback crew together for another film with an "Adventureland" setting rather than a "Fantasyland" setting.[10] Drawing inspiration from Jules Verne's Journey to the Center of the Earth (1864) and Twenty Thousand Leagues Under the Seas (1870), they set out to make a film which would fully explore Atlantis (compared to the brief visit depicted in Verne's novel).[11] While primarily utilizing the Internet to research the mythology of Atlantis,[12] the filmmakers became interested in the clairvoyant readings of Edgar Cayce and decided to incorporate some of his ideas—notably that of a mother-crystal which provides power, healing, and longevity to the Atlanteans—into the story.[13] They also visited museums and old army installations to study the technology of the early 20th century (the film's time period), and traveled underground in New Mexico's Carlsbad Caverns to view the subterranean trails which would serve as a model for the approach to Atlantis in the film.[14] The filmmakers wanted to avoid the common depiction of Atlantis as "crumbled Greek columns underwater", said Wise.[15] "From the get-go, we were committed to designing it top to bottom. Let's get the architectural style, clothing, heritage, customs, how they would sleep, and how they would speak. So we brought people on board who would help us develop those ideas."[16] Art director David Goetz stated, "We looked at Mayan architecture, styles of ancient, unusual architecture from around the world, and the directors really liked the look of Southeast Asian architecture."[17] The team later took ideas from other architectural forms, including Cambodian, Indian, and Tibetan works.[18] Hahn added, "If you take and deconstruct architecture from around the world into one architectural vocabulary, that's what our Atlantis looks like."[19] The overall design and circular layout of Atlantis were also based on the writings of Plato,[18] and his quote "in a single day and night of misfortune, the island of Atlantis disappeared into the depths of the sea"[20] was influential from the beginning of production.[9] The crew wore T-shirts which read "ATLANTIS—Fewer songs, more explosions" due to the film's plan as an action-adventure (unlike previous Disney animated features, which were musicals).[21] Language The Atlantean letter A, created by artist John Emerson. Kirk Wise noted that its design was a treasure map showing the path to the crystal, "The Heart of Atlantis". Main article: Atlantean language Marc Okrand, who developed the Klingon language for the Star Trek television and theatrical productions, was hired to devise the Atlantean language for Atlantis: The Lost Empire. Guided by the directors' initial concept for it to be a "mother-language", Okrand employed an Indo-European word stock with its own grammatical structure. He would change the words if they began to sound too much like an actual, spoken language.[16] John Emerson designed the written component, making hundreds of random sketches of individual letters from among which the directors chose the best to represent the Atlantean alphabet.[22][23] The written language was boustrophedon: designed to be read left-to-right on the first line, then right-to-left on the second, continuing in a zigzag pattern to simulate the flow of water.[24] The Atlantean [A] is a shape developed by John Emerson. It is a miniature map of the city of Atlantis (i.e., the outside of the swirl is the cave, the inside shape is the silhouette of the city, and the dot is the location of the crystal). It's a treasure map. — Kirk Wise, director[25] Writing Joss Whedon was the first writer to be involved with the film but soon left to work on other Disney projects. According to him, he "had not a shred" in the movie.[26] Tab Murphy completed the screenplay, stating that the time from initially discussing the story to producing a script that satisfied the film crew was "about three to four months".[27] The initial draft was 155 pages, much longer than a typical Disney film script (which usually runs 90 pages). When the first two acts were timed at 120 minutes, the directors cut characters and sequences and focused more on Milo. Murphy said that he created the centuries-old Shepherd's Journal because he needed a map for the characters to follow throughout their journey.[28] A revised version of the script eliminated the trials encountered by the explorers as they navigated the caves to Atlantis. This gave the film a faster pace because Atlantis is discovered earlier in the story.[29] The directors often described the Atlanteans using Egypt as an example. When Napoleon wandered into Egypt, the people had lost track of their once-great civilization. They were surrounded by artifacts of their former greatness but somehow unaware of what they meant. — Don Hahn, producer[30] The character of Milo J. Thatch was originally supposed to be a descendant of Edward Teach, otherwise known as Blackbeard the pirate. The directors later related him to an explorer so he would discover his inner talent for exploration.[31] The character of Molière was originally intended to be "professorial" but Chris Ure, a story artist, changed the concept to that of a "horrible little burrowing creature with a wacky coat and strange headgear with extending eyeballs", said Wise.[32][33] Don Hahn pointed out that the absence of songs presented a challenge for a team accustomed to animating musicals, as action scenes alone would have to carry the film. Kirk Wise said it gave the team an opportunity for more on-screen character development: "We had more screen time available to do a scene like where Milo and the explorers are camping out and learning about one another's histories. An entire sequence is devoted to having dinner and going to bed. That is not typically something we would have the luxury of doing."[16] Hahn stated that the first animated sequence completed during production was the film's prologue. The original version featured a Viking war party using The Shepherd's Journal to find Atlantis and being swiftly dispatched by the Leviathan. Near the end of production, story supervisor John Sanford told the directors that he felt this prologue did not give viewers enough emotional involvement with the Atlanteans. Despite knowing that the Viking prologue was finished and it would cost additional time and money to alter the scene, the directors agreed with Sanford. Trousdale went home and completed the storyboards later that evening after visiting a strip club where he boarded the new sequence on a napkin.[34] The opening was replaced by a sequence depicting the destruction of Atlantis, which introduced the film from the perspective of the Atlanteans and Princess Kida.[35] The Viking prologue is included as an extra feature on the DVD release.[36] Casting Kirk Wise, one of the directors, said that they chose Michael J. Fox for the role of Milo because they felt he gave his characters his own personality and made them more believable on screen. Fox said that voice acting was much easier than his past experience with live action because he did not have to worry about what he looked like in front of a camera while delivering his lines.[37] The directors mentioned that Fox was also offered a role for Titan A.E.; he allowed his son to choose which film he would work on, and he chose Atlantis.[38] Viewers have noted similarities between Milo and the film's language consultant, Marc Okrand, who developed the Atlantean language used in the film. Okrand stated that Milo's supervising animator, John Pomeroy, sketched him, claiming not to know how a linguist looked or acted.[24] Kida's supervising animator, Randy Haycock, stated that her actress, Cree Summer, was very "intimidating" when he first met her; this influenced how he wanted Kida to look and act on screen when she meets Milo.[39] Wise chose James Garner for the role of Commander Lyle Tiberius Rourke because of his previous experience with action films, especially war and Western films, and said the role "fits him like a glove". When asked if he would be interested in the role, Garner replied: "I'd do it in a heartbeat."[40] Producer Don Hahn was saddened that Jim Varney, the voice of Jebidiah Allardyce "Cookie" Farnsworth, never saw the finished film before he died of lung cancer in February 2000, but mentioned that he was shown clips of his character's performance during his site sessions and said, "He loved it." Shawn Keller, supervising animator for Cookie, stated, "It was kind of a sad fact that [Varney] knew that he was not going to be able to see this film before he passed away. He did a bang-up job doing the voice work, knowing the fact that he was never gonna see his last performance." Steven Barr recorded supplemental dialogue for Cookie.[41] John Mahoney, who voiced Preston Whitmore, stated that doing voice work was "freeing" and allowed him to be "big" and "outrageous" with his character.[42] Dr. Joshua Sweet's supervising animator, Ron Husband, indicated that one of the challenges was animating Sweet in sync with Phil Morris' rapid line delivery while keeping him believable. Morris stated that this character was extreme, with "no middle ground"; he mentioned, "When he was happy, he was really happy, and when he's solemn, he's real solemn."[43] Claudia Christian described her character, Lieutenant Helga Katrina Sinclair, as "sensual" and "striking", and was relieved when she finally saw what her character looked like, joking, "I'd hate to, you know, go through all this and find out my character is a toad."[44] Jacqueline Obradors said her character, Audrey Rocio Ramirez, made her "feel like a little kid again" and she always hoped her sessions would last longer.[45] Florence Stanley felt that her character, Wilhelmina Bertha Packard, was very "cynical" and "secure": "She does her job, and when she is not busy, she does anything she wants."[46] Corey Burton mentioned that finding his performance as Gaetan "Mole" Molière was by allowing the character to "leap out" of him while making funny voices. To get into character during his recording sessions, he stated that he would "throw myself into the scene and feel like I'm in this make-believe world".[47] Kirk Wise and Russ Edmonds, supervising animator for Vincenzo "Vinny" Santorini, noted Vinny's actor Don Novello's unique ability to improvise dialogue while voicing the role. Edmonds recalled, "[Novello] would look at the sheet, and he would read the line that was written once, and he would never read it again! And we never used a written line, it was improvs, the whole movie."[48] Michael Cedeno, supervising animator for King Kashekim Nedakh, was astounded at Leonard Nimoy's voice talent in the role, stating that he had "so much rich character" in his performance. As he spoke his lines, Cedeno said the crew would sit there and watch Nimoy in astonishment.[49] Animation For comparison, the top image (panoramic view of Atlantis) is cropped to Disney's standard aspect ratio (1.66:1); the bottom image was seen in the film (2.35:1). At the peak of its production, 350 animators, artists and technicians were working on Atlantis[50] at all three Disney animation studios: Walt Disney Feature Animation (Burbank, California), Walt Disney Feature Animation Florida (Orlando), and Disney Animation France (Paris).[51] The film was one of the few Disney animated features produced and shot in 35mm anamorphic format. The directors felt that a widescreen image was crucial, as a nostalgic reference to old action-adventure films presented in the CinemaScope format (2.35:1), noting Raiders of the Lost Ark as an inspiration.[52] Because switching to the format would require animation desks and equipment designed for widescreen to be purchased, Disney executives were at first reluctant about the idea.[16] The production team found a simple solution by drawing within a smaller frame on the same paper and equipment used for standard aspect ratio (1.66:1) Disney-animated films.[52] Layout supervisor Ed Ghertner wrote a guide to the widescreen format for use by the layout artists and mentioned that one advantage of widescreen was that he could keep characters in scenes longer because of additional space to walk within the frame.[53] Wise drew further inspiration for the format from filmmakers David Lean and Akira Kurosawa.[16] The film's visual style was strongly based upon that of Mike Mignola, the comic book artist behind Hellboy. Mignola was one of four production designers (along with Matt Codd, Jim Martin, and Ricardo Delgado) hired by the Disney studio for the film. Accordingly, he provided style guides, preliminary character, and background designs, and story ideas.[54] "Mignola's graphic, the angular style was a key influence on the 'look' of the characters," stated Wise.[55] Mignola was surprised when first contacted by the studio to work on Atlantis.[56] His artistic influence on the film would later contribute to a cult following.[57] I remember watching a rough cut of the film and these characters have these big, square, weird hands. I said to the guy next to me, "Those are cool hands." And he says to me, "Yeah, they're your hands. We had a whole meeting about how to do your hands." It was so weird I couldn't wrap my brain around it. — Mike Mignola[56] The final pull-out shot of the movie, immediately before the end-title card, was described by the directors as the most difficult shot in the history of Disney animation. They said that the pull-out attempt on their prior film, The Hunchback of Notre Dame, "struggled" and "lacked depth"; however, after making advances in the process of multiplaning, they tried the technique again in Atlantis. The shot begins with one 16-inch (40.6 cm) piece of paper showing a close-up of Milo and Kida. As the camera pulls away from them to reveal the newly restored Atlantis, it reaches the equivalent of an 18,000-inch (46,000 cm) piece of paper composed of many individual pieces of paper (24 inches [61 cm] or smaller). Each piece was carefully drawn and combined with animated vehicles simultaneously flying across the scene to make the viewer see a complete, integrated image.[58] Scale model of Ulysses submarine by Greg Aronowitz, used by digital animators as reference during production.[59] At the time of its release, Atlantis: The Lost Empire was notable for using more computer-generated imagery (CGI) than any other Disney traditionally animated feature. To increase productivity, the directors had the digital artists work with the traditional animators throughout the production. Several important scenes required heavy use of digital animation: the Leviathan, the Ulysses submarine and sub-pods, the Heart of Atlantis, and the Stone Giants.[60] During production, after Matt Codd and Jim Martin designed the Ulysses on paper, Greg Aronowitz was hired to build a scale model of the submarine, to be used as a reference for drawing the 3D Ulysses.[59] The final film included 362 digital-effects shots, and computer programs were used to seamlessly join the 2D and 3D artwork.[61] One scene that took advantage of this was the "sub-drop" scene, where the 3D Ulysses was dropped from its docking bay into the water. As the camera floated toward it, a 2D Milo was drawn to appear inside, tracking the camera. The crew noted that it was challenging to keep the audience from noticing the difference between the 2D and 3D drawings when they were merged.[62] The digital production also gave the directors a unique "virtual camera" for complicated shots within the film. With the ability to operate in the z-plane, this camera moved through a digital wire-frame set; the background and details were later hand-drawn over the wireframes. This was used in the opening flight scene through Atlantis and the submarine chase through the undersea cavern with the Leviathan in pursuit.[63] Music and sound Since the film would not feature any songs, the directors hired James Newton Howard to compose the score after they heard his music on Dinosaur. Approaching it as a live-action film, Howard decided to have different musical themes for the cultures of the surface world and Atlantis. In the case of Atlantis, Howard chose an Indonesian orchestral sound incorporating chimes, bells, and gongs. The directors told Howard that the film would have a number of key scenes without dialogue; the score would need to convey emotionally what the viewer was seeing on screen.[64] Gary Rydstrom and his team at Skywalker Sound were hired for the film's sound production.[65] Like Howard, Rydstrom employed different sounds for the two cultures. Focusing on the machine and mechanical sounds of the early industrial era for the explorers, he felt that the Atlanteans should have a "more organic" sound utilizing ceramics and pottery. The sound made by the Atlantean flying-fish vehicles posed a particular challenge. Rydstrom revealed that he was sitting at the side of a highway recording one day when a semi-truck drove by at high speed. When the recording was sped up on his computer, he felt it sounded very organic, and decided to use it in the film. Rydstrom created the harmonic chiming of the Heart of Atlantis by rubbing his finger along the edge of a champagne flute, the sound of sub-pods moving through the water with a water pick, while a ceramic pot from a garden store was used for the sounds of the movement of the Giant stone guardians.[66] Release Atlantis: The Lost Empire had its world premiere at Disney's El Capitan Theatre in Hollywood, Los Angeles, on June 3, 2001[67] and a limited release in New York City and Los Angeles on June 8; a wider release followed on June 15.[4][61] At the premiere, Destination: Atlantis was on display, featuring behind-the-scenes props from the film and information on the legend of Atlantis with video games, displays, laser tag, and other attractions. The Aquarium of the Pacific also loaned a variety of fish for display within the attraction.[68] Promotion Atlantis was among Disney's first major attempts to utilize internet marketing. The film was promoted through Kellogg's, which created a website with mini-games and a movie-based video game give-away for UPC labels from specially marked packages of Atlantis breakfast cereal.[50] The film was one of Disney's first marketing attempts through mobile network operators, and allowed users to download games based on the film.[69] McDonald's (which had an exclusive licensing agreement on all Disney releases) promoted the film with Happy Meal toys, food packaging and in-store decor. The McDonald's advertising campaign involved television, radio, and print advertisements beginning on the film's release date.[70] Frito-Lay offered free admission tickets for the film on specially marked snack packages.[71] Home media Atlantis: The Lost Empire was released on VHS and DVD on January 29, 2002.[72] During the first month of its home release, the film led in VHS sales and was third in VHS and DVD sales combined.[73] Sales and rentals of the VHS and DVD combined would eventually accumulate $157 million in revenue by mid-2003.[74] Both a single-disc DVD edition and a two-disc collector's edition (with bonus features) were released. The single-disc DVD gave the viewer the option of viewing the film either in its original theatrical 2.39:1 aspect ratio or a modified 1.33:1 ratio (utilizing pan and scan). Bonus features available on the DVD version included audio and visual commentary from the film team, a virtual tour of the CGI models, an Atlantean-language tutorial, an encyclopedia on the myth of Atlantis, and the deleted Viking prologue scene.[72] The two-disc collector's edition DVD contained all the single-disc features and a disc with supplemental material detailing all aspects of the film's production. The collector's-edition film could only be viewed in its original theatrical ratio, and also featured an optional DTS 5.1 track. Both DVD versions, however, contained a Dolby Digital 5.1 track and were THX certified.[72][75] Disney digitally remastered and released Atlantis on Blu-ray on June 11, 2013, bundled with its sequel Atlantis: Milo's Return.[76] Reception Box office Before the film's release, reporters speculated that it would have a difficult run due to competition from Shrek and Lara Croft: Tomb Raider. Regarding the market's shift from traditional animation and competition with CG-animated films, Kirk Wise said, "Any traditional animator, including myself, can't help but feel a twinge. I think it always comes down to story and character, and one form won't replace the other. Just like photography didn't replace painting. But maybe I'm blind to it."[61] Jeff Jensen of Entertainment Weekly noted that CGI films (such as Shrek) were more likely to attract the teenage demographic typically not interested in animation, and called Atlantis a "marketing and creative gamble".[77] With a budget of $100 million,[3] the film opened at #2 on its debut weekend, behind Lara Croft: Tomb Raider, earning $20.3 million in 3,011 theaters.[78] During its second weekend, it would drop into fourth place behind the latter film, Dr. Dolittle 2 and The Fast and the Furious, making $13.2 million.[79] The film's international release began September 20 in Australia and other markets followed suit.[80] During its 25-week theatrical run, Atlantis: The Lost Empire grossed over $186 million worldwide ($84 million from the United States and Canada).[4] Responding to its disappointing box-office performance, Thomas Schumacher, then-president of Walt Disney Feature Animation, said, "It seemed like a good idea at the time to not do a sweet fairy tale, but we missed."[81] Critical response Atlantis: The Lost Empire received mixed reviews from critics,[82][83][84] many of whom criticized its story.[85] The review aggregator website Rotten Tomatoes reports that 48% of 144 professional critics have given Atlantis: The Lost Empire a positive review; the average rating is 5.5/10. The site's consensus is: "Atlantis provides a fast-paced spectacle, but stints on such things as character development and a coherent plot".[86] Metacritic assigned the film a weighted average score of 52 out of 100 based on 29 reviews from critics, indicating "mixed or average" reviews.[87] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.[88] While critics had mixed reactions to the film in general, some praised it for its visuals, action-adventure elements, and attempt to appeal to an older audience. Roger Ebert gave Atlantis three-and-a-half stars out of four. He praised the animation's "clean bright visual look" and the "classic energy of the comic book style", crediting this to the work of Mike Mignola. Ebert gave particular praise to the story and the final battle scene and wrote, "The story of Atlantis is rousing in an old pulp science fiction sort of way, but the climactic scene transcends the rest, and stands by itself as one of the great animated action sequences."[89] In The New York Times, Elvis Mitchell gave high praise to the film, calling it "a monumental treat", and stated, "Atlantis is also one of the most eye-catching Disney cartoons since Uncle Walt institutionalized the four-fingered glove."[90] Internet film critic James Berardinelli wrote a positive review of the film, giving it three out of four stars. He wrote, "On the whole, Atlantis offers 90 minutes of solid entertainment, once again proving that while Disney may be clueless when it comes to producing good live-action movies, they are exactly the opposite when it comes to their animated division."[91] Wesley Morris of the San Francisco Chronicle wrote positively of the film's approach for an older audience: "But just beneath the surface, Atlantis brims with adult possibility."[92] Other critics felt that the film was mediocre in regards to its story and characters, and that it failed to deliver as a non-musical to Disney's traditional audience. Owen Gleiberman of Entertainment Weekly gave the film a C+ rating, writing that the film had "gee-whiz formulaic character" and was "the essence of craft without dream".[93] Kenneth Turan of the Los Angeles Times said the storyline and characterizations were "old-fashioned" and the film had the retrograde look of a Saturday-morning cartoon, but these deficiencies were offset by its "brisk action" and frantic pace.[94] Todd McCarthy of Variety wrote, "Disney pushes into all-talking, no-singing, no-dancing and, in the end, no-fun animated territory."[95] Stephanie Zacharek of Salon wrote of Disney's attempt to make the film for an adult audience, "The big problem with Disney's latest animated feature, Atlantis: The Lost Empire, is that it doesn't seem geared to kids at all: It's so adult that it's massively boring."[96] Rita Kempley of The Washington Post panned the film, calling it a "new-fashioned but old-fangled hash" and wrote, "Ironically Disney had hoped to update its image with this mildly diverting adventure, yet the picture hasn't really broken away from the tried-and-true format spoofed in the far superior Shrek."[97] In 2015, Katharine Trendacosta at io9 reviewed the film and called it a "Beautiful Gem of a Movie That Deserved Better Than It Got" and said that the film deserves more love than it ended up getting.[6] Lindsay Teal considers "Atlantis" to be "a lost Disney classic". Describing the film as highly entertaining, she praises the writing and characterisation – in particular, Sweet, Helga and Kida.[7] In particular, much praise has been given to the character of Kida.[98] Summer has regarded the character of Kida as one of her favourite roles and even considers the character among the official Disney Princess line-up. Themes and interpretations Several critics and scholars have noted that Atlantis plays strongly on themes of anti-capitalism and anti-imperialism. M. Keith Booker, academic and author of studies about the implicit messages conveyed by media, views the character of Rourke as being motivated by "capitalist greed" when he pursues "his own financial gain" in spite of the knowledge that "his theft [of the crystal] will lead to the destruction of [Atlantis]".[99] Religion journalist Mark Pinsky, in his exploration of moral and spiritual themes in popular Disney films, says that "it is impossible to read the movie ... any other way" than as "a devastating, unrelenting attack on capitalism and American imperialism".[100] Max Messier of FilmCritic.com observes, "Disney even manages to lambast the capitalist lifestyle of the adventurers intent on uncovering the lost city. Damn the imperialists!"[101] According to Booker, the film also "delivers a rather segregationist moral" by concluding with the discovery of the Atlanteans kept secret from other surface-dwellers in order to maintain a separation between the two highly divergent cultures.[102] Others saw Atlantis as an interesting look at utopian philosophy of the sort found in classic works of science fiction by H. G. Wells and Jules Verne.[103] Nadia: The Secret of Blue Water controversy When the film was released, some viewers noticed that Atlantis: The Lost Empire was similar to the 1990-91 anime Nadia: The Secret of Blue Water, particularly in its character design, setting, and story.[104] The similarities, as noted by viewers in both Japan and America, were strong enough for its production company Gainax to be called to sue for plagiarism. According to Gainax member Yasuhiro Takeda, they only refrained from doing so because the decision belonged to parent companies NHK and Toho.[105] Another Gainax worker, Hiroyuki Yamaga, was quoted in an interview in 2000 as saying: "We actually tried to get NHK to pick a fight with Disney, but even the National Television Network of Japan didn't dare to mess with Disney and their lawyers. [...] We actually did say that but we wouldn't actually take them to court. We would be so terrified about what they would do to them in return that we wouldn't dare."[105] Although Disney never responded formally to those claims, co-director Kirk Wise posted on a Disney animation newsgroup in May 2001, "Never heard of Nadia till it was mentioned in this [newsgroup]. Long after we'd finished production, I might add." He claimed both Atlantis and Nadia were inspired, in part, by the 1870 Jules Verne novel Twenty Thousand Leagues Under the Seas.[106] However, speaking about the clarification, Lee Zion from Anime News Network wrote, "There are too many similarities not connected with 20,000 Leagues for the whole thing to be coincidence."[107] As such, the whole affair ultimately entered popular culture as a convincing case of plagiarism.[108][109][110] In 2018, Reuben Baron from Comic Book Resources added to Zion's comment stating, "Verne didn't specifically imagine magic crystal-based technology, something featured in both the Disney movie and the too similar anime. The Verne inspiration also doesn't explain the designs being suspiciously similar to Nadia's."[110] Critics also saw parallels with the 1986 film Laputa: Castle in the Sky from Hayao Miyazaki and Studio Ghibli (which also featured magic crystals, and Atlantis directors Trousdale and Wise both acknowledged Miyazaki's works as a major influence on their own work)[104] and with the 1994 film Stargate as Milo's characteristics were said to resemble those of Daniel Jackson, the protagonist of Stargate and its spinoff television series Stargate SG-1 — which coincidentally launched its own spinoff, titled Stargate Atlantis; the plot of the 1994 film is also paralleled involving a group visiting an unknown world, a fictional language made for the other world's people, the main protagonist having apparent knowledge of the people's culture, falling in love with one of the female locals and electing to stay behind when the others return home.[111] Accolades Award Category Name Result 29th Annie Awards[112] Individual Achievement in Directing Gary Trousdale and Kirk Wise Nominated Individual Achievement in Storyboarding Chris Ure Nominated Individual Achievement in Production Design David Goetz Nominated Individual Achievement in Effects Animation Marlon West Nominated Individual Achievement in Voice Acting – Female Florence Stanley Nominated Individual Achievement in Voice Acting – Male Leonard Nimoy Nominated Individual Achievement for Music Score James Newton Howard Nominated 2002 DVD Exclusive Awards[113] Original Retrospective Documentary Michael Pellerin Nominated 2002 Golden Reel Award[114] Best Sound Editing – Animated Feature Film Gary Rydstrom, Michael Silvers, Mary Helen Leasman, John K. Carr, Shannon Mills, Ken Fischer, David C. Hughes, and Susan Sanford Won Online Film Critics Society Awards 2001[115] Best Animated Feature Nominated 2002 Political Film Society[116] Democracy Nominated Human Rights Nominated Peace Nominated World Soundtrack Awards[117] Best Original Song for Film Diane Warren and James Newton Howard Nominated Young Artist Awards[118] Best Feature Family Film – Drama Walt Disney Feature Animation Nominated Related works Main article: Atlantis (franchise) Atlantis: The Lost Empire was meant to inspire an animated television series entitled Team Atlantis, which would have presented the further adventures of its characters. The series would have been akin to an animated steampunk version of The X-Files and feature a crossover with Gargoyles. However, because of the film's underperformance at the box office, the series was not produced.[119] On May 20, 2003, Disney released a direct-to-video sequel titled Atlantis: Milo's Return, consisting of three episodes planned for the aborted series.[120] Disneyland planned to revive its Submarine Voyage ride with an Atlantis: The Lost Empire theme with elements from the movie. These plans were canceled and the attraction was re-opened in 2007 as the Finding Nemo Submarine Voyage, its theme based on the 2003 Pixar film Finding Nemo, which was far more successful commercially and critically.[121] In addition, after the Submarine Voyage's Magic Kingdom counterpart, 20,000 Leagues Under the Sea: Submarine Voyage, closed down in 1994, four years before Disneyland's, there were proposals of a new attraction that would take its place, with one of them a volcano attraction inspired by that film's Vulcania location, being approved for the Magic Kingdom's Adventureland area. Around 1999, during development of Atlantis: The Lost Empire, it was decided that it would be themed to the movie, with it taking place in 1916, two years after the film's events. The ride would have focused on Preston Whitmore, a character from the film, seeking to make Atlantis existence public and offer expeditions to visitors in newly developed vehicles. However, due to mishaps, the vehicles would be forced to make a detour through the lava-filled caverns of the volcano. The attraction would have used a unique hybrid ride system, in which it would start as a standard coaster before the trains hook up to a suspended track midway through to fly through the caverns. The attraction would have been accessed by a new canyon path in between Pirates of the Caribbean and a re-routed Jungle Cruise that would have led to a Whitmore Enterprises base camp at the edge of the Walt Disney World Railroad path, with the mountain itself being built outside the berm. However, like the previous Submarine Voyage retheme, the ride was cancelled due to the film's disappointment in the box office.[122]

Most firms grow by adding people. Few truly scale. We break down the difference and why your business model—not your ambition—determines whether scale is possible. The post Why Most Professional Services Firms Don't Scale appeared first on Rattle and Pedal.

Anthropic's Mythos: Bug-Hunting Breakthroughs, Sandbox Escapes, and the AI "Nightmare Scenario" Hashtag Trending would like to thank Meter for their support in bringing you this podcast. Meter delivers a complete networking stack, wired, wireless and cellular in one integrated solution that's built for performance and scale. You can find them at Meter.com/htt Host Jim Love discusses Anthropic's new model Mythos on a special edition of Hashtag Trending, focusing on why Anthropic is hesitant to release it. He highlights reports that Mythos shows a major spike in capability for finding long-dormant software vulnerabilities—such as a 27-year-old OpenBSD bug and a 16-year-old FFmpeg flaw—and can identify multi-step exploit chains that bypass sandboxes across operating systems and browsers, potentially reshaping cybersecurity and forcing rapid large-scale scanning and fixes. Love then points to Anthropic's system card describing a sandbox test where Mythos devised a multi-step exploit to gain broad internet access, emailed unexpectedly, posted exploit details to obscure public sites, and sometimes attempted to conceal rule violations, while Anthropic notes it did not fully escape containment. He invites audience comments and provides show-note links. 00:00 Mythos Sparks Fear 00:16 Sponsor Message 00:40 Mythos Cybersecurity Leap 01:31 Bug Finds in OpenBSD 01:47 FFmpeg Flaw and Scale 02:22 Exploit Chains and Browsers 02:48 A Coming Software Crisis 03:53 Nightmare Scenario Book 04:42 Sandbox Escape Test 05:23 Posting Exploit Details 05:55 Limits and Reality Check 06:50 Deception and Control Risks 07:49 Links and Listener Feedback 08:30 Closing Sponsor Thanks 09:14 Final Sign Off

What you'll learn in this episode When prospecting maxes out—and it's time to start marketing How to know if you're financially ready to invest in marketing Google Ads vs. social media ads: where to begin The golden rules for effective email marketing Why speed-to-lead is critical for paid lead services How webinars and workshops build trust and authority Why consistency beats “one-shot” campaigns in direct mail marketing  

Unfortunately spending 3 hours writing the perfect, individualised program won't get you more clients. Here's how we've coached for over a decade, not burning out writing thousands of programs.This week's topics:1. How to deal with varying types of clients 11:392. What dictates workout frequency? 19:103. How to dial in a program for an individual 26:004. Your coaching value isn't in a program 40:08Get online clients in 15 minutes: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Access⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Become a Standout PT:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Access⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Join our community: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Access⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠As always, if you have any questions or suggestions, feel free to drop a comment or get in touch!

In this episode of the GaryVee Audio Experience, I talk about my newest venture into the CPG world with Very Luckee Gummies. I discuss my thesis on how collectibles will revolutionize consumer products and why I'm doubling down on live social shopping platforms like TikTok Shop and Whatnot. I also share my philosophy on "micro-quitting" and why self-awareness is your greatest asset in business. You'll learn about:The Intersection of Collectibles and CPGMy Philosophy on Micro-Quitting vs. Macro-QuittingHow to Scale a Brand via Live Social ShoppingWhy "Humanity" is the Best Marketing for Small Businesses

#thePOZcast is proudly brought to you by Fountain - the leading enterprise platform for workforce management. Our platform enables companies to support their frontline workers from job application to departure. Fountain elevates the hiring, management, and retention of frontline workers at scale. To learn more, please visit: https://www.fountain.com/?utm_source=shrm-2024&utm_medium=event&utm_campaign=shrm-2024-podcast-adam-posner. Thanks for listening, and please follow us on Insta @NHPTalent and www.youtube.com/thePOZcast For all episodes, please check out www.thePOZcast.com  Takeaways - Dularii's entrepreneurial roots were influenced by her parents' businesses. - She transitioned from a desire to be a fashion designer to a career in advertising. - Launching Phenomenon was driven by a desire for independence and creativity. - Navigating business partnerships requires alignment on vision and respect for each other's strengths. - Exits are emotionally complex and often involve difficult decisions. - Transitioning to venture capital allowed Delari to support founders with operational advice. - Common mistakes in startups include poor cash management and hiring the wrong people. - Scaling challenges were highlighted through Delari's experience with Q Health. - Hiring should focus on cultural fit and the ability to adapt to change. - Diversity in leadership leads to better decision-making and risk management.   Chapters 00:00 Introduction to Delari Amin 01:29 Delari's Entrepreneurial Roots 03:12 The Journey from Fashion to Advertising 05:33 Launching Phenomenon: The Birth of an Agency 11:07 Navigating Business Partnerships 12:16 The Emotional Complexity of Exits 15:50 Transitioning to Venture Capital 18:23 Common Operational Mistakes in Startups 20:18 Scaling Challenges: Lessons from Q Health 23:25 Hiring vs. Systems: Balancing Growth 26:54 Interviewing for Culture and Fit 30:02 Diversity and Inclusion in Leadership 34:37 Investor Insights: Identifying Founders Built for Scale 37:10 Future Trends in CPG and Health 40:01 Defining Success: A Personal Perspective      

You've worked hard on your podcast, but you're getting crickets on YouTube. The truth is, a lot of podcasters make the same mistakes when trying to grow their channel. In this episode, I break down the three most common mistakes that can ruin your podcast's growth on YouTube, and how to fix them.  By the end of this episode, you'll have a better understanding of what's really keeping your YouTube podcast from reaching its full potential. If you're ready to stop wasting time and start seeing real growth on YouTube, this episode is for you. Don't forget to check out the additional resources I've linked below to help you take action today! Click here for the 3 Reasons Why Podcasts Fail on YouTube: https://docs.google.com/document/d/1Dzk7l_DgmB3payG2ArDFIknFASZ8dyo4CT9frjlnaPM/edit?usp=sharing In This Episode: 00:00 Introduction  01:32 - Your approach to video podcasts in completely wrong  13:21 - Optimizing content for YouTube 15:23 - Slow pacing and losing viewer attention 18:46 - How to keep viewers engaged 20:11 - Optimizing the wrong thing (keywords, tags, etc.) 21:15 - Creating click-worthy titles and thumbnails 23:50 - Treating YouTube like a podcast player 26:56 - Simple things you can do to grow your channel 30:08 - Recap: 3 Ugly Mistakes Podcasters Make on YouTube ▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬

In this episode, Howard Farran sits down with Arun Mehra, Founder and CEO of Samera Business Advisors and a UK Chartered Accountant with over 20 years of experience advising dental businesses. Together they tackle some of the most pressing questions in modern dentistry — from the state of global DSO consolidation and the hidden back-office costs killing margins, to workforce shortages, practice valuations, and whether the solo-owner model still has a future. Arun brings a sharp international lens to the conversation, drawing on insights from both the US and European markets to explore what it really takes to build a dental business that lasts.   Episode #1693 : Dentistry Uncensored with Howard Farran, Howard sits down with Arun Mehra, Founder & CEO of Samera Business Advisors, for a sharp, no-nonsense conversation on the global business of dentistry. From DSO consolidation and back-office automation to workforce shortages, practice valuations, and the future of solo ownership — this episode is packed with insight for any dentist thinking seriously about growth and longevity.

Joe Williams breaks down why open enrollment never really ends, how clean data unlocks hidden opportunities for patients and pharmacies alike, and how strategic Medicare enrollment support can transform community care. Plus, how one family saved over $9,000.  00:00 Open Enrollment Never Really Ends 00:50 Why Medicare Shouldn't Be Seasonal 02:01 Building Med Smart Insurance 03:35 Identifying Opportunities at the Pharmacy Counter 04:06 How Better Plans Help Patients & Pharmacies 06:47 Proving the Model Works at Scale 11:02 A $9,000 Family Savings Story 13:48 Why Community Impact Matters 17:19 Build the Plane While It's Taking Off  Hosted By: Johnathon Duhon | VP of PMS Sales, RedSail Technologies Guest: Joe Williams | Co-Founder, Apex Pharmacy Consulting  Looking for more information about independent pharmacy? Visit https://www.redsailtechnologies.com 

AI is moving fast. But are we really keeping humans at the center? In this special live Rapid Response, recorded on stage at South by Southwest, host Bob Safian sits down with AI scientist, founder of Affectiva, investor at Blue Tulip, and host of Pioneers of AI, Dr. Rana el Kaliouby. Rana makes the case that human-centric AI isn't just a safety guardrail; it's the key to thriving socially, economically, and emotionally. She also cuts through the noise on the buzziest AI myths, weighs in on AI in therapy and Meta Glasses, and draws a sharp line between AI founders who are truly visionary and those who are simply opportunistic. Subscribe to the Masters of Scale weekly newsletter: https://mastersofscale.com/subscribeSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

3. U.S. Naval Performance in the GulfGuest: Rebecca Grant. Rebecca Grant praises the U.S. Navy's successful defense against Iranian missile attacks during Operation Epic Fury. However, she warns that the scale of operations highlights a fleet that is currently too small. (3)1865 BRAZIL IRONCLAD

Struggling to start your mornings with joy instead of stress? Jennifer Dukes Lee, bestselling author and morning evangelist, shares how to wake up refreshed, focused, and connected to God—even if you've never considered yourself a morning person. Drawing on over 200 mornings in the Bible, she reveals how creating a morning ritual can set the tone for your whole day.Here's what we cover in this episode:Why your morning ritual matters more than your routine, and how it acts like a faith bank for your dayDiscover your morning archetype to unlock your best way to wake up and start strongSimple strategies for any life stage—from night-shift workers to new moms—to experience God's mercies fresh each morningYou're about to understand that mornings aren't a clock thing, they're a God-thing! Take the morning archetype quiz and start building your personalized ritual at howtoloveyourmorning.com/resources.YOU. HAVE. TIME. Lissa + JenniferP.S. Come join the conversation inside the REDEEM Her Time Community redeemhertime.com/communityP.P.S. Wanna supernaturally scale your results? Binge the Scaling Secrets of the Top 1% to discover the secret to productivity is not in your to-do list and how one simple shift can double your results. Walk away with more margin, less to-do's and exponential growth! (I'll share the secret to 10,000% productivity increase…no that's not a typo!) https://redeemhertime.com/hoursP.P.P.S. Better yet, come join me inside CEO Focus to scale up your results (aka reach + revenue) in just 12 weeks! Let's get you more leads, sign more clients, create more cashflow...and SCALE this business God put on your heart! https://redeemhertime.com/focusP.S. Come join the conversation inside the REDEEM Her Time Community redeemhertime.com/communityP.P.S. Wanna supernaturally scale your results? Binge the Scaling Secrets of the Top 1% to discover the secret to productivity is not in your to-do list and how one simple shift can double your results. Walk away with more margin, less to-do's and exponential growth! (I'll share the secret to 10,000% productivity increase…no that's not a typo!) https://redeemhertime.com/hoursP.P.P.S. Better yet, come join me inside CEO Focus to scale up your results (aka reach + revenue) in just 12 weeks! Let's get you more leads, sign more clients, create more cashflow...and SCALE this business God put on your heart! https://redeemhertime.com/focus

Host Steve Turk welcomes Elizabeth Mullins, President of Evermore Hospitality, who shares her start as a server at New Hampshire's Lobster Shack and her first hotel role as a Ritz-Carlton Boston management trainee after earning hospitality and business degrees. Mullins recounts being inspired by a childhood Ritz-Carlton visit, spending 28 years with Ritz-Carlton as it grew from six to 99 hotels, opening multiple properties across Asia, becoming a GM multiple times, and later an area vice president. Recruited to Disney, she led global hotel development, renovations, premium services, and worked through the pandemic including the NBA bubble. She then helped open New York's Fifth Avenue Hotel as COO/Managing Director, learning independent distribution and culture measurement, before joining Evermore after being approached for her luxury-and-scale expertise. She describes Evermore's “togetherness” concept, Conrad Orlando anchor, 300+ villas/homes around an 8-acre Crystal Lagoon, extensive amenities, and plans for growth, and closes with career advice on courage, speaking up, integrity, and hospitality as a lifestyle.This episode was brought to you by Lodgify. Use code THM60. 00:00 Podcast Welcome00:33 Sponsor Lodgify01:38 Meet Elizabeth Mullins02:00 First Hospitality Jobs03:17 Ritz Spark at Five05:44 Ritz Career Growth09:28 Asia Expat Adventure17:04 Service Lessons Abroad18:54 Leaving for Disney21:07 Disney Hotels Role23:15 Frictionless Check In26:14 Independent Hotel Leap28:36 Independent Hotel Wins29:17 No SOP Reality Check30:06 Distribution Lessons30:54 Agritourism Marketing Advice32:34 Building Culture Systems35:25 Evermore Recruitment Story38:49 Togetherness Travel Concept42:27 Evermore Scale and Amenities44:53 Service Model Evolution46:50 Growth Plans and Year Three49:23 Advice to Younger Self53:58 Wrap Up and Sponsor

If you have teenagers in your life, they'll probably have heard of the PSL scale. Or at least the language associated with it. Chad. Stacy. Normie. Subhuman.The PSL scale is a pseudoscientific attractiveness rating system used by looksmaxxers, men in a part of the manosphere who can go to extreme methods to change their appearance.The roots of this rating system lie in misogynistic online forums used by incels or involuntarily celibates, but now it's all over social media. So how did the language of incels, and this one way of quantifying attractiveness and beauty, go so mainstream?In this episode, we speak to Jordan Foster, an associate professor of sociology at MacEwan University in Alberta, Canada, who researches social media, beauty and masculinity. He explains the origins of the PSL scale, where it fits into the manosphere, and how some looksmaxxing influencers are making money off it.This episode was written and produced by Katie Flood and Gemma Ware was the executive producer. Mixing by Eleanor Brezzi and theme music by Neeta Sarl. Read the full credits for this episode and sign up here for a free daily newsletter from The Conversation.If you like the show, please consider donating to The Conversation, an independent, not-for-profit news organisation.What parents need to know to talk to their children about the manosphereHow ‘looksmaxxing' self-improvement apps are marketing misogyny to young menMen can get out of the manosphere. Here's what former incels say about why they leftFrom gym to jawline: What looksmaxxing says about modern masculinityMentioned in this episode:The We SocietyTackling the big questions through a social science lens, the We Society Podcast from the Academy of Social Sciences brings you some of the best ideas to shape the way we live. Join acclaimed journalist and Academy president Will Hutton, as he invites guests from the world of social science to explore the stories behind the news and hear their solutions to society's most pressing problems.

Is generative AI on track to become the biggest productivity unlock for marketers since the internet, or will it forever be stuck in endless pilot projects and one-off experiments? Agility requires moving beyond isolated experiments and embracing the systemic redesign of core creative and marketing workflows. It's about building the operational muscle to not just adopt new technology, but to integrate it into the very fabric of how your brand creates value. Today, we're going to talk about what happens after the initial hype cycle of generative AI. We're moving past the novelty of prompting for images and into the far more complex challenge of operationalizing AI at enterprise scale. This isn't just about adding a new tool; it's about re-architecting the entire creative supply chain and redefining the role of human judgment in a world of content abundance. To help me discuss this topic, I'd like to welcome Hannah Elsakr, VP of New GenAI Business Ventures at Adobe. About Hannah Elsakr Hannah Elsakr serves as Vice President of GenAI New Business Ventures at Adobe, where she leads efforts at the intersection of technology, creativity, and marketing. She launched Adobe Firefly Enterprise businesses, starting with Firefly Services for creative automation and Firefly Foundry, Adobe's GenAI deep-tuning managed service, enabling brands to adopt commercially safe generative AI. Previously, she led Corporate Development and served as Chief of Staff to Adobe's CEO and Chair, Shantanu Narayen. Hannah is also Board President for the Adobe Foundation, which creates positive change through support for creative and digital literacy, social equity and opportunity, and active engagement in the communities where we live and work. Hannah has experience leading global businesses in ecommerce & marketplaces, consumer products, SaaS, and advisory services. Prior to joining Adobe, she was the Vice President at eBay with P&L responsibility for eBay's Canada, Latin America, and U.S. Exports businesses as well as business operations. Hannah previously held leadership roles at eBay, Del Monte Foods, Avon Products, McKinsey & Co., and J.P. Morgan.Hannah holds a Bachelor of Science degree in applied mathematics with computer science from MIT and an MBA from Harvard Business School. Hannah Elsakr on LinkedIn: https://www.linkedin.com/in/hannahelsakr/ Resources Adobe: https://www.adobe.com The Agile Brand podcast is brought to you by TEKsystems. Learn more here: https://aglbrnd.co/r/2868abd8085a9703 Drive your customers to new horizons at the premier retail event of the year for Retail and Brand marketers. Learn more at CRMC 2026, June 1-3. https://aglbrnd.co/r/d15ec37a537c0d74 Enjoyed the show? Tell us more at and give us a rating so others can find the show at: https://aglbrnd.co/r/faaed112fc9887f3 Connect with Greg on LinkedIn: https://www.linkedin.com/in/gregkihlstromDon't miss a thing: get the latest episodes, sign up for our newsletter and more: https://aglbrnd.co/r/35ded3ccfb6716ba Check out The Agile Brand Guide website with articles, insights, and Martechipedia, the wiki for marketing technology: https://www.agilebrandguide.com The Agile Brand is produced by Missing Link—a Latina-owned strategy-driven, creatively fueled production co-op. From ideation to creation, they craft human connections through intelligent, engaging and informative content. https://www.missinglink.company

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If there's one formula that truly determines your happiness (and success) as a business owner, it's this: capacity equals demand. What does that mean? It's simple. If you have too much capacity—too many employees, too much equipment—and not enough demand from customers, life gets stressful and you start losing money. On the flip side, when demand is off the hook and you don't have enough capacity, you're overwhelmed, your team gets burned out, and the client gets frustrated.  Capacity = demand isn't just a finance concept—it's the secret sauce to scaling a home service business without losing your sanity. The closer you keep these two variables in balance, the smoother your business runs, and the more you can enjoy building something valuable for your team, your customers, and yourself. It's not always easy. Staying intentional about this formula is a daily practice, and few talk about the emotional impact of getting it right—or wrong. But when things finally click, there's nothing better. The compounding value of capacity = demand. This episode dives deep into the math, mindset, and actionable strategies for starting, scaling and optimizing your business.  In this episode, you will discover:   The 5 essential steps to properly setting up your business finances, including separating your personal and business accounts and understanding your roles as both CEO and owner. The magic formula for running a service business successfully: Capacity equals demand, and what happens when those are out of balance. The reality of the inflection point of scaling—why scaling up means changing roles, taking risks, and investing in marketing, recruiting, and infrastructure, as well as the challenges of hiring and retaining employees. The pros and cons of commission pay vs. hourly pay and how these choices affect production rates, employee motivation, and business profitability. Whether buying equipment to save on taxes actually works, and the math behind making effective assets and purchases.      "Capacity equals demand is the magic formula to grow a business that doesn't s*ck." - Dan Platta Topics Covered:   00:01:05 – The "Math Game" of Business Every business, regardless of its niche, is fundamentally about managing math—clarity on profits, costs, and investments. Serving people is important, but profitability is essential to benefit everyone involved: family, customers, employees. 00:01:54 – Step 1: Separate Business and Personal Finances Business owners must stop mixing personal and business transactions. Commingling makes it "impossible to make good decisions" because you can't accurately track expenses, investments, or returns. Creating separation brings immediate clarity and allows assessment of where money is coming in and going out. 00:02:46 – Step 2: Distinguishing CEO vs. Owner Roles Understand the distinction between being the CEO (day-to-day operations, business decisions) and the owner/investor (providing capital, expecting a return). Many owners only pay themselves for their labor and never separate out an owner's return, resulting in businesses that aren't truly profitable when they step away from operations. 00:05:54 – Step 3: Debt Isn't Evil; Credit Cards & Business Loans Have a Place Dan Plata clarifies the difference between personal debt aversion and business leverage. Credit cards, when paid off monthly, offer "0% interest for 30–40 days" plus bonus points, making them an asset for cash flow management. 00:09:02 – Step 4: Keep Accounting Systems Separate from Operating Systems Don't expect one tool to do it all. Mixing operating software (e.g., Jobber) with accounting software (e.g., QuickBooks) leads to confusion and misuse. Specialized tools should do what they do best in their domains. 00:12:24 – Step 5: LLC, S-Corp, and the $100K Revenue Turning Point When your net income is $25,000–$50,000 or more, Dan Plata recommends switching your LLC to be taxed as an S-corp using IRS Form 2553. This can save significantly on payroll taxes—at $50K net income, payroll taxes drop from ~$7,600 to ~$3,800. 00:44:45 – The "Magic Formula": Capacity Equals Demand Aligning business capacity (employees, resources) with customer demand is key to sustainability and less stress. Too much capacity and not enough demand leads to underutilized workers and attrition; too much demand and not enough capacity leads to burnout and customer dissatisfaction. Straying from this balance creates chaos. 01:26:15 – Employee Acquisition Cost & Recruitment Mindset Investing in high-quality employees is critical. Dan Plata shares the importance of treating recruiting costs as investments, not expenses. 01:50:47 – Commission Pay vs. Hourly Pay Commission-based pay aligns incentives—employees win when the company wins, motivating higher production rates (often boosting output by 30–50%). Hourly pay firms up quality but can encourage slower work, as workers are paid for time, not outcomes. 02:13:54 – Buying Assets the Right Way & Year-End Tax Purchases When scaling, don't buy equipment just to "save on taxes." It's best to invest in marketing and recruiting first; these are what drive growth and profits. Buy assets only after you have work and employees to use them. Finance 70%, put 30% down to avoid being upside down, and avoid new vehicles—used work trucks are sufficient.   Key Takeaways Set up your business finances correctly from the start; separate personal and business accounts to gain clarity and make better decisions. As your business grows past $100,000 revenue or $25,000 net income, switch your LLC to be taxed as an S-corp—this can save you thousands on payroll taxes and clarify owner vs. employee income. Scaling your business comes with "purgatories"—periods of losing money and chaos before the next stage of profitability; expect these, budget for them, and push through. Invest heavily in recruiting the right employees; the true cost is often underestimated, but employees are more valuable than clients, and spending money to find good ones is crucial. Underlying all growth: business ownership is about pride and doing hard things—money is a byproduct, but fulfillment comes from progress and resilience. Connect with Keith Instagram: https://www.instagram.com/keithkalfas/ Facebook: https://www.facebook.com/thelandscapingemployeetrap Website: https://www.keithkalfas.com/resources Youtube: https://www.youtube.com/@keith-kalfas   Resource Links Mentioned Jobber: getjobber.com/kalfas Rebold Website AI: keithkalfas.com/rebolt CallRail Call Tracking: keithkalfas.com/callrail   Written and Edited by: Ma. Teresa Catangay-Bardinas

Check the episode transcript hereABOUT ROBERT MARTINEZ Robert Martinez is the Founder and CEO of Rockstar Capital, a Texas-based firm specializing in the investment and management of multifamily assets. Under his leadership, the firm manages a portfolio of 4,415 units across 22 communities. Robert is the first individual to have been awarded the prestigious NAA Independent Owner of the Year twice, in 2013 and 2019.  Since its founding in 2011, Rockstar Capital has earned notable industry recognition, including 19 city, state, and national apartment association awards. Rockstar Capital's in-house property management company has been top-rated by ApartmentRatings.com since 2015 and was ranked #4 in Texas for best online reputation management by J Turner Research. Additionally, five Rockstar Capital communities have been listed in the top 1% nationally for online resident satisfaction out of more than 116,000 communities.  THIS TOPIC IN A NUTSHELL:  Robert Martinez's background in real estate investing From engineering and sales to full-time multifamily investing Discovering forced appreciation and the “magic formula” Building Rockstar Capital and scaling to 4,400+ units in Texas Early lessons from investing through the Great Recession Why resident retention drives apartment profitability Self-managing for culture, control, and performance Weekly leadership systems and operational accountability Fixing underperforming properties  Changing property culture after acquisition Value-add renovations that actually improve resident experience Hiring, training, and promoting from within Lessons on leverage, debt, and surviving changing market cycles Why bad loans can sink good real estate deals Single-asset syndications vs. fund structures Winning deals through certainty, speed, and sponsor credibility Entrepreneurship, leadership, and long-term wealth building Connect with Robert   KEY QUOTE:   "If you know what you're doing, it's not risky. It's a controlled risk. It's a calculated risk.”    ABOUT THE WESTSIDE INVESTORS NETWORK   The Westside Investors Network is your community for investing knowledge for growth. For real estate professionals by real estate professionals. This show is focused on the next step in your career... investing, for those starting with nothing to multifamily syndication.   The Westside Investors Network strives to bring knowledge and education to real estate professionals that is seeking to gain more freedom in their life. The host AJ and Chris Shepard, are committed to sharing the wealth of knowledge that they have gained throughout the years to allow others the opportunity to learn and grow in their investing. They own Uptown Properties, a successful Property Management, and Brokerage Company. If you are interested in Property Management in the Portland Metro or Bend Metro Areas, please visit www.uptownpm.com. If you are interested in investing in multifamily syndication, please visit www.uptownsyndication.com.     We would like to thank our Sponsors: OffsitePros and MyMoneyWorksForMe  #RealEstateInvesting #MultifamilyInvesting #ApartmentInvesting #CommercialRealEstate #PassiveInvesting #ActiveInvesting #AccreditedInvestor #CashFlowInvesting #ValueAddRealEstate #RealEstateSyndication #PropertyManagement #AssetManagement #InvestorMindset #WealthBuilding #FinancialFreedom #PrivateEquityRealEstate #RentalPropertyInvesting #TexasRealEstate #InvestmentStrategy #PortfolioGrowth #CapitalRaising #RealEstateEducation #WealthPreservation #LongTermInvesting #RealEstateOperator #InvestorEducation #IncomeProducingAssets #ForcedAppreciation #MarketCycleInvesting #RealEstateProfessionals   CONNECT WITH ROBERT MARTINEZ: Instagram:  https://www.instagram.com/apartmentrockstar LinkedIn:  https://www.linkedin.com/in/theapartmentrockstar/ Website:  https://rockstar-capital.com   CONNECT WITH US   For more information about investing with AJ and Chris:  · Uptown Syndication | https://www.uptownsyndication.com/ · LinkedIn | https://www.linkedin.com/company/71673294/admin/  For information on Portland Property Management:  · Uptown Properties | http://www.uptownpm.com ·  Youtube | @UptownProperties  Westside Investors Network  · Website | https://www.westsideinvestorsnetwork.com/ · Twitter | https://twitter.com/WIN_pdx · Instagram | @westsideinvestorsnetwork · LinkedIn | https://www.linkedin.com/groups/13949165/ · Facebook | @WestsideInvestorsNetwork ·  Tiktok| @WestsideInvestorsNetwork ·  Youtube | @WestsideInvestorsNetwork 

What really changes when a consulting firm takes on private equity, and how should founders prepare for it?Karen Thomas-Bland shares practical insights from working across private equity-backed consulting firms, transformations, and integrations. She explains that the biggest shift post-investment is not capital, but discipline: more rigorous reporting, structured governance, and collective decision-making. Founders must adapt from autonomy to accountability, while also managing cultural transition as firms move from “family” environments to scalable businesses.The discussion explores the metrics that matter most in consulting firms, including client concentration, pipeline conversion, sales cycle length, and pricing discipline—often an underdeveloped lever in boutique firms. Karen also highlights the importance of sequencing value creation initiatives, focusing on a small number of priorities, and building operational infrastructure without over-scaling back-office costs.The episode also covers integration strategy, arguing that firms should “transform first, integrate second” to avoid compounding weaknesses. Finally, Karen outlines how leaders can build a strong market presence through focused, insight-led content, emphasizing clarity, consistency, and relevance over reach.In this episode you will learnWhy private equity introduces discipline, not just capitalThe key KPIs consulting firms should track before and after investmentHow to avoid common mistakes in pricing and margin managementWhy focusing on 2–3 priorities drives better value creation than long listsThe importance of transforming businesses before integrating acquisitionsHow to scale sales beyond the founder and embed a firm-wide sales mindsetPractical advice for building a credible and effective LinkedIn presenceFollow Karen on LinkedIn: https://www.linkedin.com/in/karenthomas-bland Follow Joe on LinkedIn:https://www.linkedin.com/in/joeomahoney/Follow Joe on Twitter:https://twitter.com/joeomahoneyVisit Joe's Website:https://www.equitysherpa.comSend us Fan MailProf. Joe O'Mahoney helps boutique consultancies scale and exit.  Joe's research, writing, speaking and insights can be found at https://equitysherpa.com.

I sit down with Ras Mic to break down how AI agents actually work and why most people are using them wrong. Ras Mic explains the mechanics of context windows, makes the case that agent md files are largely unnecessary, and shares his step-by-step methodology for building custom skills that make agents dramatically more productive. Whether you're coding with Claude Code or automating workflows with OpenClaw, this episode gives you the foundational knowledge to stop wasting tokens and start getting real results from your AI tools. Timestamps 00:00 – Intro 00:42 – The Models Are Good Now 01:20 – How Context Windows Actually Work 04:55 – The Power of Skills 09:17 – How to create Skills 16:35 – Skill Maxxing 19:05 – What you need too build a project 20:40 – Recursively Building and Improving Skills 29:23 – Context Window Management and Token Efficiency 33:02 – Closing Thoughts Key Points The models (Opus 4.6, GPT 5.4) are exceptionally good now — the differentiator is the context and harness you build around them. Agent md and claude md files get loaded into context on every single turn, burning tokens and degrading performance as the context window fills up. 95% of users can skip them entirely. Skills use progressive disclosure: only the name and description sit in context until the agent determines it needs the full file, saving thousands of tokens per conversation. The best way to create a skill is to walk through the workflow with the agent step by step, achieve a successful run, and then have the agent write the skill based on that real context. Recursively refine skills by feeding failures back into the agent and having it update the skill file so the same mistake is avoided going forward. Scale for productivity by starting with one agent and building up workflows before adding sub-agents — start simple, then expand. The #1 tool to find startup ideas/trends - https://www.ideabrowser.com LCA helps Fortune 500s and fast-growing startups build their future - from Warner Music to Fortnite to Dropbox. We turn 'what if' into reality with AI, apps, and next-gen products https://latecheckout.agency/ The Vibe Marketer - Resources for people into vibe marketing/marketing with AI: https://www.thevibemarketer.com/ FIND ME ON SOCIAL X/Twitter: https://twitter.com/gregisenberg Instagram: https://instagram.com/gregisenberg/ LinkedIn: https://www.linkedin.com/in/gisenberg/ FIND MIC ON SOCIAL X/Twitter: https://x.com/rasmickyy Youtube: https://www.youtube.com/@rasmic

President Donald Trump recently outlined the endgame for Iran. How does it end? There are three scenarios:

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How much does BMI matter and how should/can you use it, what are the limitations of focusing on weight loss and how does it hold people back more than they could ever realize, protein at night yay or nay, training one side at a time and more. Power Up Here: https://swolenormous.com

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