Podcasts about Seeka

→→→ OPEN FOR MORE INFO ←←← Five years ago at sixty-five, Seeka traded her spreadsheets for the spotlight, bringing a lifetime of sexual exploration to the forefront of her career. From the freedom of the swinger scene to the excitement of performing in interracial scenes, Seeka's journey is a testament to the power of embracing your desires, no matter your age. In this episode, she opens up about her decision to leap into adult entertainment, the joys of creating content for both studios and her loyal fans, and the liberation that comes with living your truth. Prepare to be enthralled by Seeka's story, a narrative that's as empowering as it is erotic. Hit play and discover why this mature MILF is setting the adult industry ablaze! Follow Seeka Black: https://x.com/xxxseka linktree.com/seekablack Follow RubyLynne: https://rubylynne.bio #thegrannypantypodcast #rubylynne For questions or to be a guest on the show email GrannyPantyPodcast@gmail.com --- Support this podcast: https://podcasters.spotify.com/pod/show/rubylynne/support

We're chatting with Boo Seeka prior to his birthday hometown show! ABOUT THE GOOD STUFF Join Bonnie for all The Good Stuff happening around Newcastle and the Hunter. Good people, awesome music and great events happening in Newcastle and the Hunter every weekday from 4 pm. The Good Stuff! https://newcastlelive.com.au/the-good-stuff/ ABOUT NEWCASTLE LIVE From what's on, to what matters. Newcastle Live is the Hunter's source of entertainment and lifestyle news and information. We're devoted to all the great things happening in the region. We'll keep you up to date with what's on in Newcastle, the Hunter and Lake Macquarie. https://newcastlelive.com.au/

What do you think the name Boo Seeka means? Australian electropop singer and songwriter, Boo Seeka, joins us on this episode of Celeb Savant and he wants you to have your own interpretation of the name. We hear Boo's journey in the music business, discuss NLP, and much more Website - www.booseeka.com Instagram - @booseeka Facebook - @booseeka Twitter - @Boo_Seeka

The country's largest kiwifruit grower, Seeka, says any risks posed by a common agri-chemical can be mitigated.  Seeka representatives spoke about hydrogen cyanamide at an Environmental Protection Authority public hearing Tuesday morning. Sally Murphy has the rural news.

E395 Gary M. Bettman tells the story of his father-in-law, Danny Miller, who was a guard during the Nuremberg trials and had a unique interaction with those on trial. Gary's a film and tv producer and executive producer. His hit show Northbound is currently on Seeka tv, and some of his previous film productions include; […]

Returning guest Jay Johnson and long-time pal Gordon Smuder join us to talk about puppets, ventriloquism, “Soap,” and many other topics … “The Death of the Black Knight” starts at 00:05:29The Jay Johnson/Gordon Smuder interview starts at 00:45:22 LINKSThe Eli Marks Mystery Series: http://www.elimarksmysteries.com/Get yourself a Free Eli Marks Short Story: https://dl.bookfunnel.com/jj1r1yaavjListen to an Eli Marks Audio Short Story: https://BookHip.com/LZBPPMDJay Johnson's The Two and Only: https://monkeyjoke.com/jay-johnson-the-two-and-only/Gordon's Website: http://www.thepuppetforge.com/Transylvania TV: https://www.youtube.com/@TVTVonlineTransylvania on TubiTV: https://tubitv.com/series/1039/transylvania-tvTransylvania TV on Seeka: https://watch.seeka.tv/en/transylvania-televisionCheck out the Occasional Film Podcast: https://www.fastcheapfilm.com/the-podcast

Arianna Thackurdeen X Veekash Sahadeo - Seeka Nahin [Official Music Video] https://www.youtube.com/watch?v=QDyXUcg9KfI (2023 Bollywood Remix) Artists: Arianna Thackurdeen X Veekash Sahadeo Produced, Mixed, Mastered and Recorded by: Maha Productions Video Production and Directed by: Naresh Singh PLEASE LIKE, SHARE & COMMENT!! DON'T FORGET TO SUBSCRIBE TO THE CHANNEL & CLICK THE

Boo Seeka chats about his single 'Are You All In', joining Palm Tree Records and playing liveSunny Luwe talks about her single 'Fly Like A Bird', carbon offsetting her music and golden retrieversElyssa and Toby from Elestial chat about their single 'Delphinium', upcoming music and Newcastle musicFollow Boo Seeka on IG, FB & Tik-TokFollow Sunny Luwe on IG, FB & Tik-TokFollow Elestial on IG & FB  Visit Be Groovy Or Leave to discover the best in new musicFollow Life on Music & Be Groovy Or Leave on IG, FB & Tik-Tok

Boo Seeka joins Brad and Adam for ep 143 this week! Ben dropped by via zoom to dive into two seriously undervalued 90s records- Massive Attack 'Mezzanine' and Moby 'Play. We talk about parent detectives, FoodSeeka and sad cambo goodbyes!ALL THINGS BOO SEEKA: https://linktr.ee/booseekaUse code ROYALE10 for 10% off at Rudderless Records! Link: https://www.rudderlessrecords.com.auFollow Record Royale on Instagram: https://www.instagram.com/recordroyale/Follow us on the socials:Brad Mclean- https://www.instagram.com/bradbradnotgood_/Adam Lindsay - https://www.instagram.com/adamlindsay__/

On this episode Matt sits down with his good friend Jeff, also known as Seeka. Seeka is an entrepreneur and business coach who is obsessed with personal development. Seeka has worked deeply with plant medicines, meditation and shamanic practice and has a passion for what he calls "sacred commerce", which is holding business engagements to a high caliber of integrity and frequency of exchange. During the podcast Matt and Seeka dive into topics such as Seeka's earliest psychedelic experiences including a rare medicine called psilohuasca, the journey of being an entrepreneur, kundalini awakening, sacred commerce, and the vast world & life-changing benefits of high-end coaching and masterminds. Please enjoy! Find Seeka: https://www.instagram.com/lightseeka/   Sponsored by Feel Free: https://botanictonics.com/   Use code 'Xian40' at checkout to save $40   --- Sponsored by SHEATH: https://sheathunderwear.com   Use code 'TIMEWHEEL' at checkout to save 20%.

Why is he called Boo Seeka? What is the strangest sound he's turned into music? What are the ghosts in Pac-Man called. This was a wildly entertaining interview.   Tickets for Froth 31st March here Tickets for Settlers 1st April hereSee omnystudio.com/listener for privacy information.

Some are suggesting kiwifruit growers being hard done by. Zespri has pulled pin on its February payment to growers due to higher costs from last season. Chief grower Carol Ward says it's down to fruit quality. But Seeka says growers shouldn't be taking the brunt of it. CEO Michael Franks joined Early Edition. LISTEN ABOVE  See omnystudio.com/listener for privacy information.

Some are suggesting kiwifruit growers being hard done by. Zespri has pulled pin on its February payment to growers due to higher costs from last season. Chief grower Carol Ward says it's down to fruit quality. But Seeka says growers shouldn't be taking the brunt of it. CEO Michael Franks joined Early Edition. LISTEN ABOVE  See omnystudio.com/listener for privacy information.

This week on the blog, a podcast interview with filmmaker Matthew G. Anderson about his hit web series, “Theater People.” LINKSTheater People Website: https://www.theaterpeoplewebseries.com/Theater People on SeekaTV: https://watch.seeka.tv/en/theater-peopleNo Context Theater People on Instagram: https://www.instagram.com/nocontexttheaterpeople/A Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6Fast, Cheap Film Website: https://www.fastcheapfilm.com/Eli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcastTranscript — Episode 105 [Film Clip 0:00 to 0:32] John Gaspard 00:33That was a soundbite from the Theater People Web series, which was created, written, directed, edited and occasional photographed by today's guest, Matt Anderson. Hello and welcome to episode 105 of The Occasional Film podcast -- the occasional companion podcast to the Fast, Cheap Movie Thoughts Blog. I'm the blog's editor, John Gaspard. I've known Matt Anderson for too many years to calculate -- certainly as a screenwriter and filmmaker, but occasionally as an actor. He even shows up as a waiter in my digital feature, Grown Men.[Film Clip 1:09 to 1:28] In our conversation today, Matt talks about the origins of the Theatre People web series and takes us through the unique challenges he and his team faced bringing each of the four seasons to life. Where did theater people come from? Matt Anderson 01:44Desperation. Don't they all come from desperation? John Gaspard 01:48I guess so. What was your desperate situation? Matt Anderson 01:52I had just not been working, or, more specifically, I'd been working for a really long time writing. I was out in LA, and was doing that thing where you write for free, and nothing ever actually gets made. And I got to a point where I just kind of got tired of that, you know? After a while you kind of would like to see something actually reach fruition. I just kind of hit this point where I felt like, even if it was something just completely do-it-yourself, I just needed to see something I was writing actually get made without needing to, you know, pass through 1000, gatekeepers and sell to a studio in order to see it happen. So, that was pretty much it. I just felt like I wanted to make something truly independently and I hooked up with a producer named Lydia Bolder, who was just getting out of stage management and was looking for a new kind of project and the two of us just kind of started it up. And we brought Crist Ballas on to produce with us and the three of us just kind of made Season One happen without any real sense of whether it would work or not. John Gaspard 03:08All that being said, why did you land on the idea of theater people as your subject matter? Matt Anderson 03:14Just because it seemed like subject matter that would never exhaust itself. I'd been acting for 10 years prior to moving out to LA and I felt like the material was inexhaustible. You know, if you've spent any time in theater, as you know, you have the story, it is just coming fast and furious, like you couldn't, forget enough to not have just a goldmine of good stories and good characters and experiences to draw from. And so that was kind of the idea behind why that world. And then the practical reason was I really just wanted to work with a lot of the people that I'd used to act with. I knew that I knew a ton of really good actors and I felt like this this kind of story would lend itself to a really large cast which would allow me to work with a lot of actors, which was another thing that I wanted to do. Get as many people involved as possible and I knew I had a lot of resources. I knew that, you know, if I was going to be trying to do this completely out of pocket and as inexpensively as possible, playing to the fact that I knew a lot of people with theater spaces and knew a lot of people that would be willing to help me out and let us shoot in them for free. And all of that logistical stuff just made it seem like it was a really economical choice of story, as opposed to doing something like an office set, you know, or a restaurant or any of the other kinds of locations that are just absolute nightmares to line up. I felt like theaters were the ones that were going to be my best shot and this was something that could be primarily shot in theaters. John Gaspard 05:11I had that exact same thought when we did Ghost Light, when I was hanging out at Theater in the Round and realized that the building was only actually in use, really, Friday, Saturday night, Sunday afternoon. The rehearsal room was used in the evening, but there were more than 30 other rooms in that building that were genuinely never used and were kind of interesting. Matt Anderson 05:33Being able to have that kind of access is just, you know, when you can't pay to close a place down, finding a restaurant or a store or an office. And me being me, I still wrote in plenty of restaurants and stores and offices and then we just had to problem solve that. But at least we were able to, for the majority of what we needed, rely on friendly locations that were available to us for cheap. John Gaspard 05:57So, as you were doing that, I remember that in addition to the episodes for Season One you also did I don't know what you would play call them. They were Theater People Minute, a Minute. Matt Anderson 06:10Yeah, the Promo Minutes. John Gaspard 06:12Why did you think to do that? And they were all very funny but if I'm remembering right, aren't they really completely divorced from your main stories? Matt Anderson 06:22Yeah, character-wise, there's no continuity. We just did that because we knew that we needed to, this was my first, I had never done a web series before. I came from a background where I had done a bunch of shorts, and I had done a feature and I had kind of done that sort of those modes. I'd never done something that I was going to need to be able to market and promote and find an audience for and raise awareness of and build a brand and all that kind of stuff. And it was really sort of a learning as we were going sort of thing. So, I knew that we somehow needed to get the idea that we were making a show out there, to start building an audience and bringing people to our Facebook page, even though we didn't have a show yet and you know, getting people interested in when the show was going to launch. And so the Minutes were just a way for us to do something that was in the same spirit of the show, you know. They were silent. So, they were things that we could shoot without needing sync sound, they were short, they were a minute long, set to like old times silent movie music, and they kind of had that feel to them. So, we could shoot them in three hours, and edit them pretty quickly and just put them out there as something that people could watch in a minute and get a sense of what the sense of humor of the show was going to be. The first season was 10 episodes, of eight to 10 minutes a piece. And once we launched, we released one a week, every Friday for two and a half months. And people liked them and we got, you know, a few 100 views every time we'd launch one. And then more people would find them as we released further episodes, and we'd go back and catch up and, and it was good. It was really warm. What was most important to me was when we started it, you know, we didn't have any money and literally nobody got paid and everything was out of pocket and everybody was basically signing on to this big question mark. When I approached them, I think I told everybody, you know, I have no idea how this is going to turn out. I just want to work. Lydia, I and Crist just want to work and so we're going to do this thing and I have no idea if it's going to be any good. I think it's going to be good because it's resting on good writing and great performances and I feel like we can do that but, I said two things. · I said, one, it'll get done. Because that's a big thing, you know, a lot of projects, a lot of independent projects, that actors sign on to, they work on them really hard for you know, sometimes months int the end, and they never see the light of day, you know. You're checking in with the producers like a year later and they're like, our editors trying to fit it in between the other projects, and we're not sure when it's gonna get done and you know, a lot of them just don't get finished. So, I said, this will get finished. · The other thing I said was, you're gonna like your work. I said it'll get finished and you'll like you in the final product and that's really all I can offer. And we had a ton of actors that were willing to come on for this big question mark and just see what happened and, and it worked out well. I think I probably also said, I think it's going to be fun, and I think it has been. I think people have had a good time working on it, which is, as you know, with an independent project always, again, a question mark because, these productions are not cushy, you know. They're a lot of work and it's a lot of scrambling around and I mean, making any kind of film is a ton of work and then for a web series, especially one like this, where I mean, we ended up shooting 35 days, I think over the course of a year. We started in September, and I think we finished in May or June. And it was a really long process and we had all these great actors that were willing to come on for free and just kind of roll with it. And, you know, take the gamble. John Gaspard 10:34Okay, so Series One is a success. What pushed you into, hey, let's do Series Two, and along with that, let's try to raise money via Kickstarter? Matt Anderson 10:46When we finished Season One, there were a lot of questions about what we were going to do next. Because it had turned out well, and people liked it, and people liked working on it, and it definitely did have that sense of, you know, we could go anywhere with it next. And I always had the same answer, which was we'll do another season, if we're able to pay people. Because for me, I think it's perfectly legitimate to ask actors to work for free for a project that you think is going to end up being a good project. And I think actors are used to that and you know, they can always say no, if they're not in a position to do it, which is totally fine. It's no different from theater that way. But my personal philosophy is you get to ask them to work for free once and if you're gonna ask them again, you have to be able to add something to the equation. Like that's just how I wanted to operate. I always said, you know, if we can find a way to put some money together and actually pay people even if it's just a stipend, then we would do a Season Two, or look at doing a Season Two. About a year after we finished Season One we've been doing well, like, we'd still see, I would say probably, like 15 to 20 Episode views a day, I think if I'm remembering correctly. Like just organically, like it was just kind of out there, people would hear about it and, you know, check it out and that was day to day for a year. So, I mean, that was nice, you know. It's just small, grassroots organic growth. And then, about a year after we launched, American Theater Magazine put our link on their Facebook page. I still don't know, I think it was somebody local, specifically who got it to them, I've never really heard what the provenance of it was. And they didn't editorialize it. They weren't like, hey, here's a great show. It was literally just the link, if I recall correctly. And within a week, we had, like, hundreds, if not 1000s of views on top of the, you know, probably couple or 1000 that we've had to that point. My numbers might be wrong. It was a long time ago, but it was huge. It was a huge bump. A lot of people were checking us out because of that American Theater push. And so we were getting all this feedback from all over the place and we were seeing our numbers go up and it was really exciting and totally unexpected. And that was the point where I said, you know, maybe if we're going to look at doing crowdsourcing, which we knew would have to be the next step, if we were going to try and raise money, this would be the time to do it. And so, Lydia and Crist and I kind of put together a Kickstarter campaign to try and raise a budget for a second season. The first season was about independent theater, the second season was going to be about corporate theater. And so we put together a budget for that and put together a Kickstarter and ran the Kickstarter for a month and it was absolutely, unexpectedly exhausting. I had no idea. I had talked to some people about Kickstarter, to get ideas about, like how to run it. I talked to people who had run successful campaigns. I was so completely unprepared for how difficult it was. It was, so much more than a full-time job, but it was successful and, in the end, we had actually a decent amount of money over the amount that we were planning to raise, which was great. It was all worth it, but it was a real learning experience. John Gaspard 14:12What would you say to someone thinking of starting a Kickstarter campaign now, even though it is a couple of years later, and things might be a little different? But what were the big takeaways you got from that exhausting experience? Because I remember watching just how exhausting it was from the sidelines. Matt Anderson 14:29Well, you know, part of it was the way that we approached it, for sure. Like, I don't think every campaign has to be this way, but the way that we approached it, you know, you know me. My strong suit is not going around and asking people to give me money. That's just not anywhere near my comfort zone. And the only way I could really get comfortable with it was I said if we're going to ask for money, I kind of want to sing for our supper. I only going to be comfortable doing this if we are giving something as well, during the campaign. And so what we planned out was we released three videos a week, for the month of the Kickstarter campaign. So, every week, I think it was probably Monday, Wednesday, Friday, we would release a new video. We'd release one video that was like sourced from Season One. So, it'd be like an outtakes reel, or it would be a supercut of every one of the dozens, I think we had 50 some speaking parts in Season One: every one of those actors saying one line or one word from one line, just fun stuff like that. And then on another day, in the week, we'd released what we call our help us pay videos where we introduced a member of our crew and kind of showed what they did. So, help us pay Katie Driscoll, she's our production assistant, these are all the things she does. Help us pay our composer, this is Mike, you know, get to know him a little bit. And they were all just these little one minute videos and again, you know, all of them had the same spirit of the show. I mean, that was kind of the idea, you know, everything was sort of a piece of the project. So, every time we released something, it was like another piece of Theater People. And then, the last video each week would be something sort of more ambitious. So, for one of them, it was another Theater People minute. For one of them, it was a scene between two of our Seasons One characters. One of them had gone to prison at the end of Season One, because really, if you're going to try and do a really easy, quick shoot, what you should do is write it to take place in a prison. That is just smart producing. John Gaspard 16:37Can I suggest something? Why don't you do it out of state, certainly a long way away from your base? Matt Anderson 16:43You know, luckily, we came up with that idea on our own and ended up in Iowa. John Gaspard 16:48Yeah, that makes sense. Matt Anderson 16:51No, this is the thing. I mean, I'll tell you like, I was gonna say the unsung hero, but I think I'm still singing about her. So, hopefully she's the sung hero, but Lydia Bolder and her production magic, like literally, I would just write this stuff, and then say, hey, Lydia, I need a prison. And then she would give me that look and then she'd go get a prison. So, the last video was always something like that, sort of a bigger piece of the puzzle. And so we were releasing videos, like every other day during the week, and obviously, you know, producing anything is exhausting. So, producing at that pace was really difficult and that's on top of the fact that you have to be constantly shepherding your campaign, you know. We were Facebook based, because the Twin Cities, social media wise, is primarily Facebook based. So, we were always on Facebook, you know, we were always, tracking where we were getting the word out, spreading the news about new videos. That was actually a real upside to how we operated. You know, it allowed us to have something new to talk about all the time. So, it wasn't a month of, hey, we're doing this thing, give us some money, and then two days later, having to go back and be like, hey, we're still doing this thing, give us some money. Like, we were able to have a conversation about each video, you know. Instead, it was like, hey, come meet Katie Driscoll, a one minute video just hit our page, you know, and then we can focus on that and then the ask for the campaign was in that video. So, we didn't have to kind of be walking around hat in hand all the time. John Gaspard 18:43You gave them a reason to keep coming back. Matt Anderson 18:46Exactly. John Gaspard 18:47Just the hardest thing to do. Matt Anderson 18:49It was absolutely exhausting and then honestly. And this was advice that was given to me by somebody, who had done a successful campaign, you're emailing literally everyone that you've ever had an email address for. And you're Facebook messaging every single Facebook friend you have, that you can bring yourself, to ask for money from. And, you know, that's just kind of how it works and it's hugely uncomfortable if you're not sort of constitutionally built for that, which I'm really, really not. But really effective, because if people know, especially with a personal ask, and you know me surprise, surprise, I couldn't just send a form letter, like I needed to make a personal reach, check in and, it was really rare, frankly, once you reached out to somebody for somebody not to contribute. I mean, it might not have been much, it might have been five bucks. But that's kind of what we wanted, we weren't angling for big ticket donors. We didn't feel like that's how our show operated. You know, the show for us was really about community and showing that if you make something out of a community, that the community will be there to support it. And so in the end, I think our average donation was something around 20 bucks, which meant we had a lot of people who gave five bucks and we had a lot of people who gave more. And it averaged out to a really nice, manageable reasonable average, which I was really pleased with. John Gaspard 20:25So, you exceeded your goal and with the leftover money thought, what the heck, rather than do Season Two, let's do Season Twoand Three. Matt Anderson 20:33Yeah, well, that was a surprise that came out of the campaign. So, midway through the campaign, I got contacted by Graydon Royce, who was the Minneapolis Star Tribune, theater critic, who I'd met, I think, in passing. He just sent me an email, I think, via Facebook and said, hey, I really love the show, I saw that you're doing the Kickstarter, I hope it's going well. I had an idea for Season Two, if you'd be interested to talk about it. And I said, well, I think I know what Season Twois going to be. But you know, I'm never going to turn down an idea. Let's get together and talk. And we met for coffee, and I just loved his idea. It was just this really fantastic idea. He said, I have this house that my brother and I are renovating. It's our old family home and it's in Mound, Minnesota, about 40 minutes west of the cities. And we were out there working last weekend and it just occurred to me that it might be really funny to have Jamie, the ridiculous Avant Garde director from Season One, if he decided to do a site-specific show. You know, sort of crazy, rundown farmhouse in the middle of nowhere. And then we started spit balling ideas and I was like, yeah, maybe, what if he plans it in the fall, but by the time they do the show, it's winter and so now it's winter in the middle of nowhere in Minnesota, and nobody is aware of what they're getting into, and it just kind of spirals out of control. And I just fell in love with the idea. And so we took a look at the numbers and the money that we'd raised and you know, we'd plan for a month-long shoot for our big season for our corporate season. I said I feel like we could shoot Season Two, if we really scale it back, and I shoot it myself. So, we don't have to worry about bringing in a bunch of crew to do it. Similar to Season One, we did bring in a godsend, Mickey Richardson, who did sound and lights for us, which was beyond I mean, it wouldn't have happened without Mickey. But otherwise, we shot it pretty much like we shot Season One, except it was all in one location. So, we could go out there on a Friday night and basically shoot Friday night, all day Saturday, all day Sunday for three weekends. And we ended up shooting in, you know, what is that seven and a half days. What was originally going to be a shorter season and ended up just being a fewer number of episodes, but the episodes were longer. So, it still ended up being I think about a 90-minute season. So, basically, it's one story as opposed to the A story and the B story. It's basically like a feature film cut up into, you know, six episodes. The first thought was a well maybe that'll be Season Three. But I knew that this one was going to have to play differently. I knew it wasn't going to have the A story and the B story. I'd had this idea about doing it in black and white, because Jaime our director character is very much the sort of person who would think of himself as being Ingmar Bergman, and this season would sort of be from his perspective. And so it allowed us to shoot in black and white, which gave us a lot of leeway because you can shoot faster in black and white than you can when you're shooting in colors. It can speed up and you know, winter in Minnesota and black and white. Like, if you're trying to make something look stark, desolate and foreboding, black and white is the way to go. And so I said if we're going to do it that way, it's got to be Season Two. Because if we have a Season One that's in color, and there's A story and a B story and it's 10 episodes long, and then we have Season Twoand it's in color and there's an a story and a B story and it's 10 episodes long. That's the show, we've established our format for the show. But I said if we sneak this one in between as a six episode thing in black and white, that's kind of the weird offshoot, I said then it kind of opens up the possibilities for the show. Then we've built ourselves some flexibility then, we can kind of do anything. If we really liked that prison location and want to do an entire season in a prison, that could be Season Four. We did not do that because that would have been a terrible idea. But it gave us the flexibility. It just opened up the format to have it be the second season. So we actually did shoot Season Three first. And then while we were wrapping up Season Three, we started the weekend shoots on Season Two. So, I think we shot Season Three in December of that year and started and shot Season Twoon the weekends in January. We were done with everything pretty much by the end of January. John Gaspard 25:01Okay, so you finished Season Two, finished Season Three, what was it that happened that made Season Four happen? Matt Anderson 25:07So, we did Season Two. Season Two was a really interesting experience. Honestly, I have so much love for all of the seasons of the show. Season Two is the is season that if I were to stumble on it, just by accident online, it's the season that I would like the most. I'm a film guy so, like the Bergman thing and the like, ridiculous fake British director. And there's a Fawlty Towers aspect to it like, it really speaks very directly to the stuff that I enjoy. But it was a huge break from our format, and it really threw a lot of people. And we saw our views go down, like from where we were in Season One, it wasn't the same level of enthusiasm. The people who liked it, the people who really responded to it, liked it better, absolutely, like the passion index was much higher for it. But they were also longer episodes and as with anything on the internet, as you increase your episode length, you're going to reduce the number of people who are just going to click in and then watch on a whim, you know, instead of 7 to 10 minutes. Now, our episodes were 12 to 17 minutes, which sounds like not a ton more, but it's like 50% longer. And so like that was a dissuading factor for a portion of our audience. And we definitely had people come up to us and say, hey, I saw Season Two, that's really weird. Season Three is going to be like Season One, though, right? Like, you're gonna go back to that. There were definitely some people who really missed the sitcom format of it and that was, I don't know, it wasn't surprising, I guess, but it was a little disappointing to me. Just because I loved it so much and I felt like it was such an interesting step forward for the show. But I say, I understand why it happened and it made a lot of sense to me. But what was really great was because of the nature of it, because I felt like it was something unique. I felt like it might have some legs on the film festival circuit, which I'd never really considered doing, with the show. I'd been burnt out on the film festival circuit pretty badly, just doing short films. Like my experience was pretty much always you spend a lot of time submitting it to a film festival, your work, whatever it is. And you pay your 50 bucks and then two months later, you get a letter saying how happy they are that you paid your 50 bucks, but they just didn't have a place for you. And then you do it all over again. And so I'd kind of moved past that, you know, it was not something I had anticipated. But I started looking around and I started seeing that more film festivals were having sidebars for web series. And I thought, you know, there's not going to be a lot of black and white Bergman-esque comedy web series out there, I might as well you know, throw our hat into the ring. And so I submitted to a few festivals, and was really surprised that we really started doing well. Like we got into a really high percentage of the festivals that we applied to. I mean, I feel like on average, if you apply to if you're applying to film festivals, I feel like you've got a really good hit to miss ratio if you're getting into 10 to 20%, right? And we got into probably two thirds or more of the festivals that we applied to, which was really great, because it meant that first of all, the show was getting out there, you know, it was finding audiences in a different way than I'd ever expected it to. And also it was just really validating, you know, because when you do see your numbers drop like that, you know that it's not really playing for everybody, you start to kind of second guess yourself a little bit. And it was really validating to have, a curated festival come along and say, we really want to show your show. And then we won some awards and our cast was nominated for Best Ensemble Cast at the New York City Web Fest, which is one of the biggest web fests in the country, if not the biggest. And so like, we started having that reaction, it made a lot more people aware of the show. And it's always difficult to get people to hit the play button and having that kind of legitimacy bestowed on you by people who aren't friends of yours, who aren't people who are in the show, really helped us build an audience. So, that was kind of step one toward raising the profile of the show. And then we did Season Three, we released Season Three later that year, once I was done editing it, obviously. And right before Season Three launched, Minnesota Public Radio, Marianne Combs, did a piece on the show, a really great piece, which by the way, I was completely unprepared for. I thought that was going to be a train wreck. I met with her thinking that we were going to meet to talk about doing a piece and then we sat down and she pulled out a microphone and like, I hadn't been doing any PR for the show for like six months, because I'd been editing. I had no talking points like, I was totally unprepared and that woman is a genius and the piece that she put together was fantastic. Like it was this really great piece, like she integrated some fantastic clips from it and it played on NPR one morning, right around the time, we were launching Season Three. And that same day, I got a Facebook message from a local guy in town named George, who said, I heard the piece on the radio this morning and I'm working with a couple of guys to put together a new social media content platform. And it's going to be geared specifically toward independent web content and it sounds like we should sit down and talk. So, we did we sat down and had a cup of coffee and kind of talked about what their plans were. And over the course of a few months, we talked about--because I'd had the same response to, after we were done with Seasons Two and Three, again--people would start asking, are you gonna do a season four and I had the same response. I said, yeah, we'll do it. If we can pay people more, because we were finally able to pay people for Seasons Two and Three. But I mean, it was a pittance. I think everybody, all the actors in Seasons Two and Three made $100 for the project, you know, whether it was people who were shooting for a month on Season Three, or people who were living in a freezing farmhouse for three weekends for Season Two. 100 bucks for the project, not a lot. And I said if we're going to move forward, same situation, we'll do it if we can pay people more. If we can actually pay a day rate instead of a stipend. And so in talking with, with these guys, who were putting together this platform that's called SeekATV, they said, you know, we're going to be acquiring a lot of shows, like dozens of shows, but we also are interested in producing a handful of original seasons of shows. And Theater People was the first one that they asked, I believe. And they said, would you be interested in, if we could license the first three seasons for our site, we could produce, we can help finance a fourth season. And, you know, it's one of those things that comes up, and you never think it's actually going to pay off because you hear you know, these ideas floating around all the time. And most of the time they don't come through. nd these guys absolutely came through and you know, by June or July, we had a deal in place for them to produce the fourth season of Theater People with a budget of about five times what we had made, Season Two and Season Three for. So, a significant step up in terms of what we were able to work with for a budget. John Gaspard 32:55So, with Season Four, though you're going with longer episodes. Matt Anderson 32:59Yeah, they were looking for something more around the 15-minute mark, like the 15-to-20-minute mark, and most of our episodes for Season Four are about 15. John Gaspard 33:07Which is closer to the traditional 22 minutes of standard sitcom? Matt Anderson 33:11Yeah, and that was actually the appeal for me, like when we got our deal put down, and they said, we'd like your episodes to be somewhere between 15 and 20 minutes, there was sort of a moment of creative, well, it turned out to be hubris on my part. Because I went, hey, we get to make a sitcom, that's great, that's really exciting. Like, this is a terrific creative challenge. That was really short sighted of me. It meant that now we were going to be dealing with, instead of 150 pages of content, 200 pages of content, which is a lot more content. John Gaspard 33:53Now, let's just back up and do the math on that. You're saying 200 pages of content is more content than 150 pages of content? Matt Anderson 34:01I don't have the numbers in front of me. But we worked it out and 200 It turns out is a significant percentage more than 150. And we had budgeted for, you know, more or less the Season Three model, like a 10-to-15-minute episode. And so, we had budgeted in terms of both money and in terms of schedule for that kind of a production. And now, as excited as I was about it, I very quickly realized, we signed on for suddenly 25% more show. And that then became the challenge for Season Four, was how do we develop it in such a way from a production point of view that we can with this budget that we've got. Which was primarily Seeka put up the lion's share of the budget and then we raised the rest of it from individual investors. And then it was figuring out okay, well, how do we do this show right? How do we do this show in a way that we are compensating people the way that we'd like to be compensating them and we're getting done the work that we need to get done and the show is a legitimate step up from what we've done before. Like, if we do a show, at this new budget level, ends up looking like what we did for 20% of this budget previously, that's going to kind of be a failure. It should look better, it should look like a marked step up from what we've been doing before. Like this is our chance to show what we can do with more resources. And so that was the goal with this one was to make a show that really represents an advance on what we've been able to do previously. John Gaspard 35:49How did you do that? What were the key things you focused on to make that happen? Matt Anderson 35:53From a development point of view, the real key was embracing it as a sitcom and by that, I mean, the show had always been sort of arranged in a way that I really liked. But if you watch an episode of Theater People, aside from Season Two, which was its own beast. From Seasons One or Three, we're all over the place. Like an episode will hop from an apartment to a theater to a street to another theater to an office. We needed to find a way to embrace the idea of sort of a single set sitcom, you know. It was never going to be a single set, but, if you watch a sitcom and especially like, the shows that I really love, like I'm a huge fan of Community. Community is a little rangy, but the majority of an episode of Community takes place in the study room. Cheers is in the bar, most of Seinfeld is in Seinfeld's apartment. It's not that you never go outside, it's just that the majority of what you're doing takes place in one location. And we've never done that before. And so for Season Four, what we decided was we are going to embrace this idea of being a real sitcom and as with the other seasons, we wanted to look at a different kind of theater. So, Season One had been independent theater, Season Two was site specific theater, Season Three was corporate theater. And for Season Four, I felt like, because we were looking at being on a new platform that I felt was probably going to want to be appealing to like college kids like 20 somethings like a younger audience than we had necessarily been skewing toward in our previous seasons, I felt like Youth Outreach Theater was the way to go. I had been a member of a Youth Outreach Theater in high school for a year and a half and it was a huge part of my sort of getting into theater. And I knew that the material was there as well. And it put us in a position where we could be dealing with a younger cast than we'd had before. You know, a lot of 20 somethings. Our youngest principal cast member literally started college the day of our readthrough. And it also meant that we could base out of basically their headquarters, their homeroom, which is this, you know, supposed to be a room in this college and it turns out to be the costume locker in the basement. But it allowed us to shoot probably 80% of what we were doing in this one controlled room, which really was the only way that we were going to be able to crank out the amount of material we needed to on the schedule that we had there. John Gaspard 38:22So, you had a different aesthetic designed for Season Four, tell me a little bit about that. Matt Anderson 38:26Yeah, well, the aesthetic was kind of… I would have brought Amber back on if I could have to shoot Season Four as well. But logistically, knowing that we were going to have to be moving as fast as we were with a nine person principal cast, which meant scheduling was already going to be really difficult, and she is a busy shooter and it just seemed like it was going to be logistically impossible. And on top of that, most of our shooting was going to be taking place in this little tiny room where every extra body really makes a difference. And so we kind of were in a position where we had to run lean again, which is what we're used to. We've never had a crew of more than four or five people. But we had to keep to that again and it just made sense for me to operate. I was feeling comfortable enough, I was pleased with how Season Two looked, having somebody who was lighting it for me in particular being important and Mickey was back. He actually produced Season Four and he was also our gaffer, and our lighter are all around go to tech equipment guy. And again, like this season wouldn't have happened without him being there. You have to have somebody on set, John, who knows what they're doing. This is what I found, you might only need one, no, you need two because you also need a sound guy and we had Nathaniel who did the sound for Season Three for us. But you have to have those two people who know what they're doing as Kevin Costner, I think, would tell you. As long as you've got people around you who know what they're doing, you can do a pretty good job. And that was the situation. I felt comfortable enough shooting it myself, because we were going to adopt this aesthetic of having it be handheld, everything that's down in the room is handheld. And that was, you know, largely born out of just necessity. Like we traditionally, I get absolutely nothing usable from the first day of shooting, this has just always been my experience, I should plan on it and I still never do. John Gaspard 40:27You should start on day two then. Matt Anderson 40:30Right, give everybody a day off. Now, Season Two, we had to be up and running on day one. But usually there's a bit of a learning curve going into it. And the learning curve with Season Four was we were going to shoot, I was planning on having everything locked down just because it takes a little bit of the responsibility off of me to be able to actually operate the camera. But we tried shooting in that room on a tripod, and it was just not going to be tenable. We just weren't gonna be able to move fast enough. Like, every time we moved, it required a different lighting setup. And there frankly, wasn't enough room in the room to have a full tripod setup. I mean, for a lot of different reasons, it just really quickly made sense that, okay, we're gonna do sort of a, you know. I've been watching a lot of Veep, so like, when I sat down to write Season Four, I was looking for good inspiration. I had already stolen everything I could from Community for Seasons Two and Three. So, I needed something new. So, I sat down, and I watched Veep and Silicon Valley, both of which are fantastic. And the Veep aesthetic, the sort of run and gun, let that be part of it, you know, that sort of fly on the wall feeling. And you know, we were able to emulate that. We didn't go so far into it that it ever feels documentary. But it does definitely have a looseness, it definitely had, it gave us the flexibility to have less of a restrictive lighting setup. So, we could sort of light the room and just let the camera go where the camera needed to go as much as possible. And that just meant that we were able to shoot a lot faster than we would be able to do. And because it was looser like that, I felt more comfortable operating because it didn't need to look composed and perfect. It needed to just have the right energy, and basically be pointing at the right people at the right time. And as long as I knew who I needed on camera, when I needed them on camera, it allowed me to operate pretty quickly, it worked out really well. And you know, the upside to having a good director of photography is that you have a good director of photography. The downside of having another a separate director of photography is that that's another layer of communication and well, I would say on most productions, it's absolutely worth that. On this one, because we were going to need to be moving as quickly as we were, it was really helpful for me to just be able to know what I needed to get and get it, as opposed to having to try and effectively convey that information to somebody else who was going to have to execute it. And then probably have to go and watch it myself on a monitor to make sure that it was what I wanted. You know what I mean? It's in order to move fast and when we needed to move fast. It just made more sense for me to do it and I'm pleased with the results. If we had a better director of photography, I have no doubt that they would have brought another level of production quality to it. Like, it would have been another step up on that front, but we'd still be shooting. John Gaspard 43:30Well, then you wouldn't be able to talk to me right now. Matt Anderson 43:31That's true, I'd be in the middle of a shoot and dealing with mass mutiny on the part of all of my cast and crew, I have no doubt. John Gaspard 43:38Most likely. So, you've pretty much covered most of the pro side of when it comes to you being the writer, director, shooter, editor. Matt Anderson 43:47Yeah, the pro is if you're doing it all, you know that you're going to be there, and you can prioritize the work in a way that you're not going to be able to afford to have other people prioritize the work. You know, I do always bring on the most important crew position in a lot of ways is your sound recordist. I remember, did you ever see, In The Company of Men? John Gaspard 44:12Yeah. Matt Anderson 44:13Got that movie, I remember watching the DVD of it, so that was Neil LaBute's first movie. And I will always remember this: he was talking about how his sets don't look very good, which they don't. Like if you look at a shot in that movie, it looks like what it is, it looks pretty amateur. But he said his belief--and I don't know where he picked it up or whatever it stuck with me forever--he said people will accept a movie that looks like crap, as being an aesthetic. As long as it's consistent, they will absolutely watch a movie no matter what it looks like and just assume that that's an intentional choice. No one will watch a movie with bad sound because that's never a choice, it's always a deal breaker. And so, I use the guy that I uses name is Nathaniel and Nathaniel is fantastic. Nathaniel recorded a lot of Season Three for us and that was really important to have a sound recordist and then he also mixes for us, which is great because, he can record in such a way that he knows what he needs when he gets to the mixing part of the process. But yeah, then you're in a position where you know, Nathaniel's got a job, you know, he's got other projects, other things that potentially are going to be prioritized over this. He does a really great job of prioritizing us and of hitting the deadlines that we need and I'm not really sure how he does it? But it's really difficult to ask that of people when you're not able to pay them something commensurate to what they're making on a corporate project, or on their day job doing this. So, the nice thing about doing it yourself is you're personally driven to get it done and to do it as well as it can be done, and you are able to prioritize it ahead of kind of everything else because that's just your role. You know, your job is to kind of make it the most important thing in your world while you're doing it. John Gaspard 46:03That's all well and good. But what's the downside of wearing all those hats? Matt Anderson 46:08It'll kill you. I'm not done yet, John, which is why we're able to have this conversation. It's way too much. I mean, honestly, like, I have overreached, which is good. That's how much you can reach, you overreach, and then you go, I won't do that that way again. But that is the position that I've put myself in, it was just, it was a lot, it was shooting, you know, like I say, 200-page script over the course of we started in the middle of September, I was still doing pickup shoots in February. So, again, I'm not a math guy, but that's, you know, at least two or three months. John Gaspard 46:52How do they tell, them how they can seek out Seeka? Matt Anderson 46:55Seeka is amazing. And this is what I loved about Seeka: from the first time I heard about what they were trying to do, when I started making a web series, I had never seen a web series, I might have stumbled across something. But it was probably something pretty high profile, like Funny or Die. The problem is with web series, they're just out there. But unless you know that they're out there, it's like a cool club, you know, you only know it's there, if you already know it's there. Which is neat for a cool club, but not neat for a web series that you would actually like people to find. And what Seeka's whole mission was, let's make a hub for quality, independent web content, so that people can just go to one place and find 50, 60, 70, 100 shows and find what they like, you know. There's no more searching around. And when I started, Season One of Theater People, it was hard to figure out even what to watch, to know what to emulate, you know, because unless you knew what to Google like, and you could Google like best web series out there, but you're gonna get like five or six different shows. And there's 100 shows, at the time, there was probably already hundreds of shows out there. So, Seeka's whole model was, let's make a place where you can find a lot of great shows, of a lot of different types from all over the world in one place. Watch them easily, it's free, it's subscription free, there's the opportunity to contribute to a show, you can tip the show, after you watch an episode, there's a little button if you want to kick in a buck, or three bucks, or however much you want to kick in. And that money goes largely like generously, largely to the content creators. I forget what the actual split is. But it is a generous split in favor of content creators, because they want content creators to want to be on Seeka. The only way this works for them as if they've got people who want to have their stuff on the platform and so they have to make it attractive. Also, they're just really great guys and I don't think they want to screw anybody over. But like, they need to have a good platform in place in order to have the kind of content that's going to make their platform successful. And I have found some fantastic stuff on there. Like I feel very privileged to be airing alongside some of the stuff that they have on there. And I know that as they move forward, you know, the goal is going to be to continue to find that really high quality stuff. And they're going out to festivals, and they're getting the stuff that's winning the awards at festivals, and they're really doing a great job of finding the kind of content that is sort of ready for primetime, in the web series landscape and it's great. John Gaspard 49:37So, I'm going to wrap this up with a closest thing to a Barbara Walters question that I would ever ask anybody, which is, I don't remember how many years ago, young Matt Anderson drove home from Los Angeles with his new Rebel camera with the idea of creating theater people or something like that? Matt Anderson 49:56Pretty close to that. John Gaspard 49:57What would you want to say to him? If you could just give him a call, because you've been through quite a bit here, what have you walked away with, that would be helpful for him or anybody else starting something that turns out to be quite this massive. Matt Anderson 50:10You know, honestly, I would say this: I've been really fortunate. A lot of it would be validation of the ideas that I had coming into it, there have absolutely been discoveries, there have been so many discoveries. I'm actually teaching a course called web series one on one right now. There is so much knowledge that I have just had to find via trial and error over the last five years that it's absolutely, I'm still learning all the time, you know. You learn how to make the show, you learn how to put the show out there, you learn how to find an audience, you learn how to promote it, you learn how Facebook works, if you want to get the word out to more people, you know, like all of that stuff. But honestly, I think the most important thing that I would say would be the general idea that I had, which was that, if you've got good material, and great actors, that is all you need, like I really and direct them, that's what you have to do, you have to direct them. That actually is also super important, because actors are supposed to be working with the director, you know, the director is the one who knows how everything fits together. And I think part of the reason that I'm as proud of our casts and all of our casts, like, every season, including Season Four, which has a ton of young actors and a ton of actors. For the first time, I'm dealing with a cast where I haven't worked with most of the principal actors before, because I've been working with actors that I used to act with 10, 15 years ago, and a bunch of them are still around, and a bunch of them are still in the show. But for this, you know, Youth Outreach Theater, we needed people who could pass as college students. And so we had to go out and find them. And this cast is as fantastic as any we've had and that's why the show works. Like it really is, and you know, different shows are different, some shows are effects driven, some shows are, you know, location driven. So, I'm sure you know, there's lots of things that draw people into a show. But for this show, the key has always been having a really great ensemble, you know, having an ensemble that doesn't seem like they're doing an amateur project, you know, having an ensemble that is delivering work that is on par with something that you would see on broadcast television. I really believe that is why the show has traveled as well as it has. I believe that's why it's played, the festivals, that attract, that it has, I think that's why Seeka wanted to come on and produce a fourth season. And that was always the idea was the Twin Cities have this amazing pool of actors. And now you know, specifically I'm talking about, where I'm making stuff in Minneapolis, like what we have is this fantastic, deep pool of acting talent. And so I built a show around it. And the show works because that's the engine and these guys are fantastic and that's what I would say would be just continue to have faith in the idea that if you've got good writing and great actors, you don't need to be a great camera person. You don't need to have all the technical stuff down, you don't need to have a jib arm, you don't need the equipment that you don't know how to use, you don't need a 10 person crew. Like this show is about really good actors delivering hopefully really good dialogue in a way that is compelling and that tells a story from start to finish. And I think that has borne itself out as being a really viable method. And the nice thing is you don't need to do that in a studio, you know what I mean? You don't need to do that with a million dollars behind you. You can do it effectively on the scale that we've been doing it. That's the best thing that I could say like if I was whether I was talking to myself or anybody else, especially in Minneapolis,making stuff that would be what I would say was find really great actors and then work with them and trust them because that's the goal. That's why I like watching the show. [Film Clip 54:24 to 54:38]. John Gaspard 54:38Thanks to Matt Anderson for chatting with me about creating the Theater People webs series, which you can find online at SeekTV.com – check the show notes for a direct link to all four seasons. If you liked this interview, you can find lots more just like it on the Fast, Cheap Movie Thoughts Blog. Plus, more interviews can be found in my books -- Fast, Cheap and Under Control -- Lessons Learned from the greatest low-budget movies of all time ... and its companion book of interviews with screenwriters, called Fast, Cheap and Written that Way. Both books can be found on Amazon, Barnes & Noble, Kobo, Google and Apple Books. And while you're there, check out my mystery series of novels about magician Eli Marks and the scrapes he gets into. The entire series, staring with The Ambitious Card, can be found on Amazon in paperback, hardcover, ebook and audiobook formats. That's it for episode 105 of The Occasional Film Podcast. Produced at Grass Lake Studios. Original music by Andy Morantz. Thanks for tuning in and we'll see you … occasionally!

A combination of pulsating sounds that bed down layered textures of electronic bass and percussive beats. Boo Seeka's smooth synths and rolling beats keep the energy sizzling like a neon sign on the Miami strip. This episode Boo Seeka is back on the podcast chatting about his new album ‘Between the Head & The Heart.' We discussed the art of listening to a record on vinyl and the survival of albums. Boo also shares stories  about working with Hayden Jaymes, playing Coachella and writing a record of 12 personal messages to himself. 

We're joined by Boo Seeka on the pod this week! After playing Coachella with Hayden James earlier this year, the electronic pop singer-songwriter is returning with a brilliant new record in tow, which is entitled Between The Head and The Heart. In today's episode, we're speaking with Ben from the band about the songwriting process for this record, getting back out there to tour Australia, what Coachella was like, and we discuss the mysterious Foodseeka Instagram account.You can buy Between The Head and The Heart here.You can listen to Boo Seeka here.Boo Seeka Instagram: @booseekaBoo Seeka Facebook: @booseekaThanks again to Boo Seeka for their time. We also want to give a special shout out to Emily from On The Map PR for her assistance with this episode.You can help support This Song Is Yours at our Patreon here.You can follow us on the socials below:TSIY Insta: @thissongisyoursTSIY FB: @thissongisyoursTSIY TikTok: @thissongisyours See acast.com/privacy for privacy and opt-out information.

Don't look now, but Congress might do some stuff.  Dean turns to his colleagues, Republican Bruce Mehlman and Democrat David Thomas, to break it all down.  They'll cover what's happening in 2022 In 22 Minutes!

Boo Seeka jumps onto The Hoist to chat with Will about their new single Next To Me as well as their upcoming album titled Between The Head and The Heart - out on June 29th!     See omnystudio.com/listener for privacy information.

Boo Seeka joined Homebrewed for a return interview to chat about their latest upcoming album. We also discuss the decision to close down The Cambridge Hotel in Newcastle (Ben's hometown), and what it might mean for music in the area. Ben also tells us how COVID affected his mental state and what inspired the music for the latest album. Thanks for listening! Be sure to subscribe for more content. See more from Boo Seeka here Like Homebrewed on Facebook Follow Homebrewed on Instagram Check out our Spotify Playlists here Catch up on everything Homebrewed Homebrewed is a radio program and podcast dedicated to supporting the Australian Music Industry. Cameron Smith and Eamonn Snow have been presenting Homebrewed since November 2017 and have received excellence awards and the admiration of local bands for their presentation of Homebrewed and their continued support of the Australian music scene. This podcast is designed so you can enjoy conversations with musicians, industry representatives and music media personalities.

Sam is joined from the the most acoustically designed Woolies carpark on the East Coast by Ben Gumbleton, aka Boo Seeka to chat about his latest track, "Finish What You Started". Along the way, we chat about Ben going solo with the project, a very sunny upcoming live cameo, and the importance of "fuck it" energy.Connect with Boo Seeka  on Instagram and Facebook, and listen to their latest single, "Finish What You Started" on Spotify and Apple Music. Discover more new music and hear your favourite artists with 78 Amped on Instagram, on Facebook.

Tech companies have been pulling the US markets down, with the ASX and NZX following suit. Microsoft (MSFT) says it will take over Activision Blizzard (ATVI) in a record breaking deal. Seeka's (SEK) shareholders vote yes to the company acquiring New Zealand Fruits in a deal worth $21 million NZD. Sharesies' 2022: Setting the Scene webinar goes live on Thursday the 20th at 12:15pm. Register here to find out what our experts think will be the major trends for 2022. www.sharesies.com For more share market news, subscribe to Lunch Money, Sharesies' bite-sized email update: https://www.sharesies.nz/lunch-money If you'd like to get in touch, for any reason at all, email recap@sharesies.co.nz or record a voice message: https://anchor.fm/sharesies2/message. Investing involves risk. You aren't guaranteed to make money, and you might lose the money you start with. We don't provide personalised advice or recommendations. Any information we provide is general only and current at the time. For specific advice, speak to a licensed financial advice provider

Seeka Ltd (SEK) upgrades its guidance for the 2021 financial year and looks ahead to a legal settlement with the Crown. Snap Inc (SNAP) misses revenue expectations in its latest quarterly results. Earlier this week, the first bitcoin-linked exchange traded fund in the US began trading on the New York Stock Exchange—we look at what the fund is, and why it's making headlines. www.sharesies.com For more share market news, subscribe to Lunch Money, Sharesies' bite-sized email update: https://www.sharesies.nz/lunch-money If you'd like to get in touch, for any reason at all, email recap@sharesies.co.nz or record a voice message: https://anchor.fm/sharesies2/message. Investing involves risk. You aren't guaranteed to make money, and you might lose the money you start with. We don't provide personalised advice or recommendations. Any information we provide is general only and current at the time. For specific advice, speak to a licensed financial advice provider.

Hey Punters, in this week's episode we bring back one of our fave humans, Benny from Boo Seeka, to chat about the music industry and where it is at today. So many artists and musicians have been effected horribly by COVID and this gives you an insight into some of the struggles they have faced, where to from here and how we can help to get it back off the ground. We also share some of the interviews we did with musicians Fontaines D.C., José González and Wolf Alice in line with the Jim Beam Welcome Sessions. Episode Breakdown- How COVID first effected them- Financial support for artists?- Frustrating/ Unclear rules- Cancellations of shows- Future of festivals- Future for Australian Artists- Adapting- What Benny misses the most- Our Jim Beam Welcome Sessions interviews: Fontaines D.C., José González and Wolf AliceIf you would like to show your support for Happy Hour please 'subscribe' on Apple Podcasts and 'follow' on Spotify and we would j'adore it if you would rate and review x CREDITS:Hosts: Lucy Jackson @Lucykatejackson & Nikki Westcott @nikkiwestcottt @wethe_wildonesGuest: Benny @booseekaThis podcast is part of The Spin Studio network @thespinstudionetworkExecutive Producer: Courtney Mangan @courtneymangan and Tamara Burns @tamburnsTechnical Producer: Adam Gauder @adamgauderTo shop Jagger & Stone visit http://www.jaggerandstone.com

The big horticulture news today is that we're having an avocado glut! So if you don't have an avocado pear baby at home chewing through them, what do you do with this wealth of green goodness? Michael Franks is the CEO of Avocado exporter Seeka, so he should have a couple of ideas.

Ben from Boo Seeka joined Homebrewed to discuss the latest movements in the Boo Seeka project, including the debunking of a popular theory/myth. Ben also raised concerns over the live music scene in regional NSW such as his hometown of Newcastle and the Central Coast. Ben also provides some golden nuggets of optimism in his analysis of the music industry pre, during, and post lockdown. Thanks for listening! Be sure to subscribe for more content. Listen to Tripwire here See more from Boo Seeka here Like Homebrewed on Facebook Follow Homebrewed on Instagram Check out Homebrewed Selects on Spotify Catch up on everything Homebrewed Homebrewed is a radio program and podcast dedicated to supporting the Australian Music Industry. Cameron Smith and Eamonn Snow have been presenting Homebrewed since November 2017 and have received excellence awards and the admiration of local bands for their presentation of Homebrewed and their continued support of the Australian music scene. This podcast is designed so you can enjoy conversations with musicians, industry representatives and music media personalities.

Monday night host Bec had a chat with Boo Seeka about his new single 'Tripwire'. See omnystudio.com/listener for privacy information.

Shadow Boxers #024 is delivered to us by Manchester's own Diligent Fingers! With nearly 20 years of experience in the music industry, he has gone from playing at free raves to hosting and performing at countless events across the UK and Europe. From working with many big names within DNB and Hip Hop scene such as Trigga, Genesis Elijah, Hazard, Audio, Prolix, Current Value, Liz E, Indika, DJ Hybrid, Saxxon, Kenny Ken and many more, he is an important part of Bloc2Bloc Entertainment's foundation. Track List: 1. Diligent Fingers - Killing My Dream - Dub 2. Metal Work - Ready To Go - Grid Recordings 3. T>I & D-Minds - Only You - Critical Music 4. Shadre & Salvage - Ascend - Dub 5. Diligent Fingers - Bruk Up Boris - Pick N Mix 6. Diligent Fingers & Epicentre - Foundation - Short Circuit 7. Brownson & Diligent Fingers - Savage - Dub 8. Fox - Walk Out - The North Quarter 9. Voltage - Got It 10. Harley D & Scotty - MOAB - Grid Recordings 11. Teej & Slay - No Drama - Nuusic Music 12. DJ Hazard & Summer Rayne - Roll On My Level - Playaz 13. Heist - Scrapyard Dog 14. Formula & Diligent Fingers - Neck Back - Bagged And Tagged 15. T>I & Jakes - Ribcut – Critical Music 16. DJ Hazard - Bad Guys - Playaz 17. K Jah & Diligent Fingers - Dutty Bungle – Natty Dub Recordings 18. Zeba - Whoa Yeah – Grid Recordings 19. Diligent Fingers - R.U.O.K - Spynal Records 20. Jaydan & Diligent Fingers - Creeper - Dub 21. Shy FX & Breakage - Rastafari – Cul:ture 22. Diligent Fingers & DeeLayDee - Running Out Of Time - Spynal Records 23. ClikVork & MadRush - War - Pick N Mix 24. Formula - Dragsters Den - Pick N Mix 25. Ajeed, Seeka & Diligent Fingers - Duppy Dem - Omen Audio 26. Diligent Fingers - Valhalla VIP - Spynal Records 27. Jappa & NV - Waterworks - OCC Recordings 28. Shadre & Salvage & Diligent Fingers - Deep Sines - Shadow Demon 29. Killbox - Dab Lab - Ram Records 30. Diligent Fingers - Open Up - Spynal Records Tu'n up and enjoy. ---- Diligent Fingers: SC: https://soundcloud.com/diligent-fingers IG: https://www.instagram.com/diligentfingers/ FB: https://www.facebook.com/DiligentFingers

WE HAVEN'T LAUGHED SO MUCH ON A PODCAST Matt and Ash have some stories of their short travels so far. We loved hearing about them and the love they have for connecting with people where they have travelled. The Episode was recorded a few months ago so they are not currently at their location as per the podcast, but we have been following their travels after the interview and they are certainly a couple to follow. The Seeka Bus, which they renovated has some special characteristics and it was awesome to hear about it on the podcast interview. Listen to their perspective on travel and tips they have to share as well as their epic stories in this episode via Youtube or your chosen podcast platform. We hope you enjoy this episode of our podcast as much as we did and REMEMBER to Subscribe! More Episodes of the Podcasts available to watch/listen to here on our channel. https://youtu.be/_SFJv4S0dXk Podcast available to listen on spotify, google and Apple podcast - You can find Matt & Ash on Instagram @seeka_bus Facebook @seeka_bus Youtube Seekabus The Podcast is brought to you by Willem & Anneke from Mission Trekkers (Formerly known as Hustle&Chill - Mentoring travelling friends on how to start an online business that will work for them while they are able to travel full time. FIND Travelling Friends of Aus AT: INSTAGRAM or FACEBOOK or Via our webpage *******Are you a travelling family/single/couple in Australia? WE would love to have a chat to you too and share your story to the rest of Australia! Request a feature by either contacting us directly on one of the above platforms or email us at travellingfriendsofaus@gmail.com********

Seeka says it's scrambling to find workers to get the final ten percent of its fruit off the vine.

A combination of pulsating sounds that bed down layered textures of electronic bass and percussive beats, Boo Seeka's smooth synths and rolling beats keeps the energy sizzling like a neon sign on the Miami strip.  This episode we chat with Boo Seeka about their love of touring and writing their first hit track 'Kingdom Leader' on Garage Band. We shared our love of lockdown drinking over a couple beers this episode with Boo & chat all about their latest track 'Don't Waste Your Love' with Golding along with the funny story behind its music video. 

Sam joins Boo Seeka's frontman Ben Gumbleton for a literally hot-under-the-collar chat about their latest collaboration with Golding, "Don't Waste Your Love". Between drinks breaks, they chat about the band's love-hate relationship with Dua Lipa, how to achieve perfect collab vocals, and Sam shares a fan letter from a familiar name.Connect with Boo Seeka on Instagram and Facebook, and listen to "Don't Waste Your Love"  on Spotify and Apple Music.Discover more new music and hear your favourite artists with 78 Amped on Instagram, on Facebook, or on our website, www.78amped.com 

Ever wanted to ditch your job and escape to a deserted island? Well, that is exactly what Matt & Ash from Seeka Bus are doing. WHAAAAT, NO WAY?! Sick of the corporate world and wanting to see Australia they decided to pack up all their belongings build out a bus and convert to bus life living. If you are thinking about full-time or part-time van /bus life learn from people who are already doing it. You will get the top tips on what to do, what to not do and hear some funny stories along the way. Follow us on socials @ Augie Sundays and keep up to date with Matt & Ash over at @Seeka_bus See omnystudio.com/listener for privacy information.

The listed kiwifruit company Seeka has confirmed the sale and lease back of 100 hectares of orchard in Australia. Eric Frykberg has the rural news.

RSE workers are coming back to New Zealand, but not until the new year. Growers will be able to bring the workers to NZ in January, provided they pay a living wage and the cost of managed isolation. Paul Paynter, the General Manager at Yummy Apples in the Hawkes Bay along with Stephen Darling, the head of Darling Fruits in Central Otago and Michael Franks, the Chief Executive of Kiwifruit company, Seeka, speak to Susie Ferguson.

Get a few huge peaks behind the curtain into how our hugely professional podcast is made, while you digest six brand new tracks for your playlists!If We Break - Incase We CrashWorld on Wheels (ft. Kyle Dion) - Duckworth Slack - Hundredth Days get better - Boo SeekaKing of the Fall - The WeekndWhether or Not - Barley PassableCheck out the Hot Singles Playlists!Apple Music:https://music.apple.com/au/playlist/the-78-amped-minipod/pl.u-oZylld9FPjdp7rSpotify:https://open.spotify.com/playlist/73DJaJfjbLtYoezKShReX8?si=eZFk95htQHmQNWjZtuw0kQ----------Connect with Barley Passable on Facebook and Instagram, and check out their track Whether or Not on Spotify and Apple Music.Get more new music and your favourite artists on Instagram @78Amped, on Facebook, or on our website, www.78amped.com

Dan Bigham is back with Wattshop product designer Mike Booker to discuss the Anemoi Aero Extension system and the new Speed Seeka device. Find it all here: https://www.shopforwatts.co.uk/ I am at cyclingtimetrialpodcast@gmail.com and @markflorence11. Thanks for downloading the show!

The listed kiwifruit producer Seeka has reported a lift in its six month earnings, in spite of what it's describing as a very challenging operating environment.

Weekend Plans Don't Exist... | Elon Musk's Baby Name Rejected | Vance Musgrove aka The Aston Shuffle | DJ Flamingo's Spicy Mix | Boo Seeka Lads on The Show | Apple Has Lost Tom! Instagram | Facebook | Twitter | Hit App 

Start your Saturday night the right way and tune in to The Beats and Bass show on iLive Radio with DJ Deepsound. Delving into various sounds of Deep Dubstep, Bassline, Grime, House, Funk and many others. Each week will include new music and vibes with guest DJ's and Artists passing through. So tune in, Saturdays 2-4pm GMT, The Beats and Bass show on iLive Radio. It's gonna be mental.

George Reese is an entrepreneur, a writer, a filmmaker, and the founder of Minnesota Webfest. Join us as we delve into the man behind so much happening in our state from the web series to festivals, and the streaming platform Seeka.tv 

In Episode #1, we hit electro duo Boo Seeka with a quickfire 21 questions and then chat about their answers. It's a whole heap of fun. Maybe they even sing a song at the end? Who knows. This podcast is presented by Mother Energy & Life Without Andy, hosted and edited by Lewie Dunn, and produced by Harry Webber.

Songs, Artists and/or Albums that make you feel empowered as a man, whatever that means.. Featuring Michael, Seeka and Uncle Red

Boo Seeka joined Nat & Laura via phone to chat about their new single ‘Millennium Drive” and their upcoming tour. A combination of pulsating sounds that bed down layered textures of electronic bass and percussive […] http://media.rawvoice.com/joy_localroots/p/joy.org.au/localroots/wp-content/uploads/sites/400/2019/07/Boo-Seeka.mp3 Podcast: Play in new window | Download (Duration: 7:40 — 7.0MB) Subscribe or Follow Us: Apple Podcasts | Android | Google Podcasts | Spotify | RSS The post Interview with Boo Seeka appeared first on Local Roots.

Episode 176: We’re not saying your crazy, but…This week, we are talking all about therapy. For the first round, we examine the delightful stigma that surrounds taking care of one's mental health. Rolling into the next round, D. Marie asks the group how they know it is time to seek a professional’s help. Of course, to keep things on the lighter side, James closes out the episode soliciting the “Best of the Worst” advice ever received. Aside from what you have heard on Two Drinks In! ***A special SHOUT OUT in this episode to Erin’s show, FEM 101, which is now streaming on Seeka.tv. Don’t let the Minnesota accents fool ya!  These two gays and two gals are solving the world’s problems one drink at a time. Features Strong Language, Mature Themes, and Midwest Advice from the Twin Cities. Drunk-O-Meter Rating: 3 out of 5 Subscribe and rate us on iTunes. Visit our website for more content at http://www.twodrinksinpod.com Like us on Facebook: twodrinksin Email us at twodrinksinpod@gmail.com Tweet us at @twodrinksinpod Patreon at www.patreon.com/twodrinksinpod Make sure to use the hashtag #twodrinksinpod Erin’s Show: Fem 101 https://watch.seeka.tv/#/index Hosts: Dana Severson, James Lekvin, Erin Roberts, and D. Marie Long Producer: James Lekvin The Drinks: Venn Brewing Key Lime Gose, Provisions Rosé, Old Style, and Avery Brewing El Gose

Bri and Chris are real life friends and depressed people and made a web series about two friends and depressed people called Sam and Pat. This is the trailer episode for a podcast where they go episode by episode through their web series to discuss the behind the scenes stories as well as the mental health topics introduced. Watch Sam and Pat season 1 on SeekaTV at Seeka.tv/samandpat or on Stareable at Stareable.com/series/view/sam-and-pat-are-depressed

Chelsea and Taylor have a series on Seeka TV called Female Friendly, about two unemployed friends who decided to start a female friendly porn production company. They are Writers, Producers and Actors, and we had a great time chatting at my table. They tell me all about their journey finding their way in Hollywood and all the creeps that have offered to sleep with them to help their careers. And spoiler alert, you don't need to sleep with creeps to make it in Hollywood. You can find their series here: http://www.femalefriendlyseries.com

Seeka is a Torres Strait Island musician and creative mastermind visiting Aotearoa for the first time. Talking about his first NZ gig and experiences here so far. We love that you follow us, but our relationship can be much deeper. Let us know what you are interested in, what is happening in your part of Dunedin (and beyond) or share some joy. Celebrate someone, let us all know about secrets you discover and share the love.   S/outs: Propel FItness Toast Bar Vanguard Specialty Coffee Co Great Wall Takeaways Deep South NZ Clothing

Dr. Phil Osborne dropping life and marketing knowledge bombs. Seeka couldn’t help himself and had some insight and questions of his own! We love that you follow us, but our relationship can be much deeper. Let us know what you are interested in, what is happening in your part of Dunedin (and beyond) or share some joy. Celebrate someone, let us all know about secrets you discover and share the love.   S/outs: Propel FItness Toast Bar Vanguard Specialty Coffee Co Great Wall Takeaways Deep South NZ Clothing

A conversation with the man behind Seeka.TV 's Transylvania Television, puppeteer and puppet forge Gordon Smuder.  

Brent sits down with the co-creator of Transylvania Television, Gordon Smuder to talk about the show, puppets, making television on a small budget and Transylvania Television's new home on Seeka. You can find Transylvania Television at http://preview.tinyurl.com/yacqmvoz

Another Communion Presents, another cracking band from Australia this time in the shape of Boo Seeka.

Boo Seeka perform their smooth tune 'Deception Bay' before laying down a dreamy cover of MO's 'Pilgrim' for Like A Version.

Boo Seeka perform their smooth tune 'Deception Bay' before laying down a dreamy cover of MO's 'Pilgrim' for Like A Version.