Podcasts about Slick

Steve Turek and Kevin Slick get stalked by Robert Mitchum as they try to survive The Night of the Hunter (dir. Charles Laughton). Plus Mark Matzke's Beta Capsule Review (Ultraman Taro)! Voicemail: (360) 524-2484‬ Email: monsterkidradio@gmail.com Deth Designs - https://dethdesigns.bigcartel.com/ Monster Kid Radio on Patreon - https://www.patreon.com/c/monsterkidradio Monster Kid Radio on Twitch! - https://www.twitch.tv/monsterkidradio Monster Kid Radio on YouTube - http://youtube.com/monsterkidradio Follow Mark MatzkeMonster Study Group - https://podcasts.apple.com/us/podcast/monster-study-group/id1526013554 Small Town Monsters - https://www.smalltownmonsters.com Follow Steve TurekDieCast Movie Podcast - https://www.facebook.com/profile.php?id=100063695340771 Follow Kevin SlickMusic, Photography, and More - https://kevinslick.com/ Kevin Slick on YouTube - https://www.youtube.com/@kgslick50 Follow Monster Bash Creepy Classic - https://creepyclassics.com/ Classic Horror Film Board - https://classichorrorfilmboard.com/ Executive Producer - https://www.podcascadia.com/ "el Oasis" (Porsaguera) provided courtesy of Porsaguera https://porsaguera.bandcamp.com/ Bride of Monster Kid Radio is a Team Deth Production. All original content of Bride of Monster Kid Radio is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 4.0 International License. You can learn more about Team Deth, our other projects like Deth Merchant, Mail Order Zombie, Deth Writer, and more at www.teamdeth.com. Please rate and review Monster Kid Radio wherever you download your favorite podcasts. Next time on Bride of Monster Kid Radio: Follow us on Patreon to find out!

Overview of the Cotton Harvest in Floydada, Texas: The conversation involves a discussion with Slick Sanders, a farmer from Floydada, Texas, about the state of agriculture in his area. The milo, corn, and cotton harvests have been completed, with ginning (the process of separating cotton fibers from seeds) still ongoing. Sanders is involved in transporting cotton seeds from gins to oil mills, where the seeds are processed to extract oil and create products like cottonseed meal, which is used as a protein supplement for cattle.  

We discuss being sick during the holidays, the magic of Christmas elves, and play a hilarious game called "Sick or Slick." In this episode of the Stay Outta My Fridge podcast, a dad and daughter duo share light-hearted stories about navigating sickness right before Christmas. Despite the colds, we keep the holiday spirit alive by talking about the creative antics of our Christmas Elves, our favorite crafting projects, and the excitement for upcoming Christmas concerts. Plus, we invent a brand new game called "Sick or Slick," where we rate different winter scenarios to see if they are cool or just gross. Join us for the laughs, the family bonding, and the unfiltered reality of the holiday season! In this episode, we cover: Intro: Dealing with Holiday Sickness Christmas Elves: The new antics in our house Crafting & Advent Calendars: Our DIY projects GAME TIME: We play "Sick or Slick" (Winter Edition) Upcoming Christmas Concerts Conclusion: Finding humor when you're sick #StayOuttaMyFridge #ChristmasPodcast #FamilyPodcast #DadAndDaughter #ChristmasElves #HolidaySickness #Crafting #SickOrSlickGame #BeardLaws About the Beard Laws Network The Beard Laws Network is home to weekly shows covering true crime, conspiracies, family-life comedy, sports legends, and strange local history. New episodes drop every week from: Yore Town Podcast (True Crime) – Mondays Watch the Series Here TTT Podcast (Conspiracies) – Tuesdays Watch the Series Here Stay Outta My Fridge (Family Comedy) – Thursdays Watch the Series Here Street Sign Storytime (Local Lore) – Sundays Watch the Series Here Subscribe to never miss an episode! Listen to Full Episodes & Clips ➜ Beard Laws Network Shorts: https://www.youtube.com/@BeardLawsNetwork/shorts ➜ Main Beard Laws Channel: https://www.youtube.com/@BeardLaws Follow on Socials TikTok, Instagram, Facebook, and more → https://linktr.ee/beardlaws Support the Show Like, comment, and share this episode — it helps the Network grow a TON! Don't forget to LIKE and SUBSCRIBE to The Beard Laws Network for all your non-beard related podcasts and shows! New episodes of STAY OUTTA MY FRIDGE drop every Thursday! Follow us on Instagram: @beardlaws Hit that subscribe button for more best sports moments podcast episodes, fun food reviews, and family-friendly content! Friends of the show: Live Bearded - https://livebearded.com Yellow Leaf Hammocks - https://www.yellowleafhammocks.com/products/the-vista Shinesty - https://shinesty.com/?ref=beardlaws Want your fridge roasted? Share your weirdest item in the comments for a future Fridge Detective segment! Like, share, and subscribe to join the Stay Outta My Fridge community! Your support helps us grow! Stay curious with Beard Laws Studio—Stay Outta My Fridge: Your go-to for family entertainment! Listen to Full Episodes & Clips ➜ Beard Laws Network Shorts: https://www.youtube.com/@BeardLawsNetwork/shorts ➜ Main Beard Laws Channel: https://www.youtube.com/@BeardLaws Follow on Socials TikTok, Instagram, Facebook, and more → https://linktr.ee/beardlaws Support the Show Like, comment, and share this episode — it helps the Network grow a TON! If you enjoyed this episode, please subscribe and leave a 5-star review on your favorite podcast app! It's the best way to help our family show reach more people.This has been The Stay Outta My Fridge Podcast, your source for family comedy, snack reviews, and '90s nostalgia.Find us on social media The Stay Outta My Fridge Podcast is a part of the Bleav Network. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

We discuss being sick during the holidays, the magic of Christmas elves, and play a hilarious game called "Sick or Slick." In this episode of the Stay Outta My Fridge podcast, a dad and daughter duo share light-hearted stories about navigating sickness right before Christmas. Despite the colds, we keep the holiday spirit alive by talking about the creative antics of our Christmas Elves, our favorite crafting projects, and the excitement for upcoming Christmas concerts. Plus, we invent a brand new game called "Sick or Slick," where we rate different winter scenarios to see if they are cool or just gross. Join us for the laughs, the family bonding, and the unfiltered reality of the holiday season! In this episode, we cover: Intro: Dealing with Holiday Sickness Christmas Elves: The new antics in our house Crafting & Advent Calendars: Our DIY projects GAME TIME: We play "Sick or Slick" (Winter Edition) Upcoming Christmas Concerts Conclusion: Finding humor when you're sick #StayOuttaMyFridge #ChristmasPodcast #FamilyPodcast #DadAndDaughter #ChristmasElves #HolidaySickness #Crafting #SickOrSlickGame #BeardLaws About the Beard Laws Network The Beard Laws Network is home to weekly shows covering true crime, conspiracies, family-life comedy, sports legends, and strange local history. New episodes drop every week from: Yore Town Podcast (True Crime) – Mondays Watch the Series Here TTT Podcast (Conspiracies) – Tuesdays Watch the Series Here Stay Outta My Fridge (Family Comedy) – Thursdays Watch the Series Here Street Sign Storytime (Local Lore) – Sundays Watch the Series Here Subscribe to never miss an episode! Listen to Full Episodes & Clips ➜ Beard Laws Network Shorts: https://www.youtube.com/@BeardLawsNetwork/shorts ➜ Main Beard Laws Channel: https://www.youtube.com/@BeardLaws Follow on Socials TikTok, Instagram, Facebook, and more → https://linktr.ee/beardlaws Support the Show Like, comment, and share this episode — it helps the Network grow a TON! Don't forget to LIKE and SUBSCRIBE to The Beard Laws Network for all your non-beard related podcasts and shows! New episodes of STAY OUTTA MY FRIDGE drop every Thursday! Follow us on Instagram: @beardlaws Hit that subscribe button for more best sports moments podcast episodes, fun food reviews, and family-friendly content! Friends of the show: Live Bearded - https://livebearded.com Yellow Leaf Hammocks - https://www.yellowleafhammocks.com/products/the-vista Shinesty - https://shinesty.com/?ref=beardlaws Want your fridge roasted? Share your weirdest item in the comments for a future Fridge Detective segment! Like, share, and subscribe to join the Stay Outta My Fridge community! Your support helps us grow! Stay curious with Beard Laws Studio—Stay Outta My Fridge: Your go-to for family entertainment! Listen to Full Episodes & Clips ➜ Beard Laws Network Shorts: https://www.youtube.com/@BeardLawsNetwork/shorts ➜ Main Beard Laws Channel: https://www.youtube.com/@BeardLaws Follow on Socials TikTok, Instagram, Facebook, and more → https://linktr.ee/beardlaws Support the Show Like, comment, and share this episode — it helps the Network grow a TON! If you enjoyed this episode, please subscribe and leave a 5-star review on your favorite podcast app! It's the best way to help our family show reach more people.This has been The Stay Outta My Fridge Podcast, your source for family comedy, snack reviews, and '90s nostalgia.Find us on social media The Stay Outta My Fridge Podcast is a part of the Bleav Network. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Proof news is here! Following an exciting December 2025 Genetics Evaluation, we learn about industry-wide changes along with notable sires like GARZA, DOMINANCE and CAPTAIN and their impact on STgenetics and their customers. We dive into the specifics of the Proven sire list, Net Merit ranking and STgenetics Eco$ ranking and discuss a new group of Slick bulls along with the Legend™ Program and the recent success of STyle™ sires. Tune in to hear the latest trends in the industry, future directions in the genetic portfolio and much more!00:00 Introduction and Welcome00:40 Industry-Wide Changes and Trends02:12 Top Bulls in the Proven Sire List04:17 Focus on GARZA and DOMINANCE07:12 Net Merit Ranking Success09:20 Eco$ Ranking Explained10:59 New Slick Bulls12:33 Legend™ Program Expansion15:01 Genomic Young Sires Highlights17:19 International Highlights and Fall Show Season20:03 Excitement for the Future23:28 Conclusion and Farewell

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

Let's all sing the holiday classic: “All I want for Christmas… Is Something Not Made of Plastic.”Easier sung than done. Plastic is now ubiquitous in toys, electronics, tools, air, water… and us. And don't forget the plastic Baby Jesus in Christmas tableaus.What is plastic, anyway? It's a toxic synthetic material mostly manufactured from petroleum by such giants as ExxonMobil, the globe's top purveyor. So much is produced by these profiteers that plastic trash is now a planetary disaster.But not to worry, for Big Oil's lobbyists assure us gabillions of plastic bags, bottles, and such are being recycled, keeping them out of our landfills, water, bodies, etc. Swell! Except… they're lying.After all, Exxon is the same for-profit contaminator that lied for years that fossil fuels were not causing climate change, even though top executives knew they were. Their ethic of deceit continues today – Big Oil knows that 94 percent of US plastics are not recycled. Indeed, they can't be.Faced with growing public alarm about the ever-growing glut of plastic pollution, the industry has doubled down on deceit by offering a snappy new PR slogan: “Advanced Recycling.” They say it's a magical process dubbed “pyrolysis.” Only… it doesn't work, it's inordinately expensive, and it increases climate change emissions. Still, Exxon exclaims its AR will soon be processing half a million tons of plastic waste! But that's not even a drop in the plastic bucket, for more than 400 million tons of plastic waste is discarded each year –and the oil industry is planning to double plastic production by 2040.The only real way to stop runaway plastic pollution of us and our planet is to use less plastic. To learn more and help, go to Beyond Plastics: BeyondPlastics.org.Jim Hightower's Lowdown is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit jimhightower.substack.com/subscribe

Good Morning BT with Bo Thompson and Beth Troutman | Thursday, December 4th, 2025. 6:05 Beth’s Song of the Day 6:20 Filing week in NC 6:35 Caller Neil talks Karen Carpenter concert experience 6:50 RAM Biz Update; New Family theme slide park coming to Charlotte 7:05 Listener Marc gives GMBTeam the inside scoop on Slick City Action slide park 7:20 Legendary Human Being Ed Billick talks Hancock's Bikes for Kids 7:35 GMBTeam asks what's the craziest thing you've one in "Old Charlotte" 7:50 Guest: Ray Stagich (Weather Channel Meteorologist) - Bikes for Kids Forecast 8:05 Cowboys vs Chiefs was highest rated NFL regular season game of all time 8:20 Filing week in North Carolina cont. 8:35 Guests: Brent & Hailey Sanders of Kids First - Hancock's Bikes for Kids 8:50 DoorDash now offering exclusive reservations on the App (launching in NYC) 9:05 Guest: David Chadwick 9:20 Stranger Things season finale viewing experience in select theatres 9:35 The WBT Holiday BOOM-Box returns with Boomer VonCannon 9:50 Show wrapSee omnystudio.com/listener for privacy information.

“Why do some holiday commercials spark more anger than joy—and what does that say about the season ahead?” In this lively episode of The JB and Sandy Show, hosts JB and Sandy dive headfirst into the chaos and quirks of the holiday season, joined by Sandy's wife, Tricia, whose candid reactions to a certain Amazon commercial set the tone for a hilarious and relatable discussion. From the “meemaws” sledding down the hill to the early onset of Christmas celebrations, the trio explores why some traditions—and advertisements—can push us over the edge before December even begins. The conversation takes a nostalgic turn as JB and Sandy reminisce about classic colognes, celebrity endorsements, and the psychology behind scent and memory. Tricia shares, “All you need for me is Drakkar. Old school Drakkar. She's hanging on there. 1988. With everything she's got,” sparking laughter and memories of simpler times. The hosts debate the merits of magazine fragrance samples versus TV ads, and Tricia weighs in on what really matters when choosing a cologne. But the episode isn't all lighthearted banter. The hosts tackle a serious issue gripping Austin: the rise of pickpocketing during the holiday rush. Drawing on personal stories and expert advice, they reveal clever tricks used by thieves—from the infamous “baby toss” distraction to the classic café phone snatch. JB recounts, “They'll walk up to people at a cafe…hold a map over your phone, then reach down and pick it up under the paper. Slick.” The discussion is packed with practical tips to keep your valuables safe and stories of locals fighting back, including a memorable tale of a tourist who took justice into her own hands.Other highlights include:The futuristic (and pricey) Japanese human washing machine—would you pay $400,000 for the ultimate clean?The changing face of Austin's nightlife, bachelorette parties, and the “woo girls” phenomenon.The debate over ditching wallets for Apple Pay, and Sandy's bold declaration: “I'm also gonna try to start going without underwear. No, let's keep that tight. Come on.”With humor, heart, and a dash of holiday angst, this episode is a must-listen for anyone navigating the joys and frustrations of December. Whether you're searching for the perfect cologne, dodging pickpockets, or just trying to survive the season, JB, Sandy, and Tricia deliver insights and laughs that will keep you coming back for more.Notable Quotes & Memorable Moments“All you need for me is Drakkar. Old school Drakkar. She's hanging on there. 1988. With everything she's got.”“They'll throw a baby at you…and next thing you know, all your stuff is gone. But then you got their baby.”“I'm also gonna try to start going without underwear. No, let's keep that tight. Come on.”Call-to-Action Love what you hear? Don't miss a moment—subscribe to The JB and Sandy Show, leave us a review, and share this episode with friends who need a laugh (or a warning about pickpockets)!

ALSO: Indiana House Republicans release draft congressional map, Indiana senator faces threats, and IU gears up for Big 10 Championship gameSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Hour 2 - The roads were well treated in advance, and conditions were decent. But like every year, people seem to forget how to drive in wintry conditions.

Tom Mulcair can be heard every weekday morning at 7:40 on The Andrew Carter Morning Show.

Your weekly dose of Rock, Pop & EDM curated by Slick every Friday from 10am - 1pm on Capital FM Kenya.

Your weekly dose of Rock, Pop & EDM curated by Slick every Friday from 10am - 1pm on Capital FM Kenya.

On today's outro, just a short back and sides, thanks. Follow The Big Show on Instagram Subscribe to the podcast now on iHeartRadio, YouTube, or wherever you get your podcasts!Featuring Jason Hoyte, Mike Minogue, and Keyzie, "The Big Show" drive you home weekdays from 4pm on Radio Hauraki.Providing a hilarious escape from reality for those ‘backbone’ New Zealanders with plenty of laughs and out-the-gate yarns.Download the full podcast here:iHeartRadioAppleSpotifySee omnystudio.com/listener for privacy information.

The Jay Thomas Show from Thursday November 20th, 2025.  Guests include your calls and emails.

Welcome to this episode of Monday Night Project, this week we cover WWF Superstars from February 9th 1991 where we will see :- Tugboat vs Earthquake (w/Jimmy Hart) The Nasty Boys (Brian Knobbs & Jerry Sags) (w/Jimmy Hart) vs Mike Williams & Reno Riggins The Warlord (w/Slick) vs Tom King Jake Roberts vs Tony Burton Ted DiBiase vs Lynn Wagner If you enjoy the show then please leave a review or comment just so i know im not doing this for nothing, share the show on your social media (if you have it), tell your friends etc that we exist and that i can continues this show.  Follow the show on facebook Memphis Continental Wrestling Cast (facebook.com/memphiscast) Check out Youtube.com/@memphiscast & patreon.com/memphiscast for videos You can watch the show https://www.patreon.com/posts/wwf-superstars-9-140025420?utm_medium=clipboard_copy&utm_source=copyLink&utm_campaign=postshare_creator&utm_content=join_link

Slick x The Cypher 8th Nov(Hip Hop/Boom Pap) by Capital FM

Conscious Hip Hop from Kenya and around the world mixed by Slick every Saturday from 5 - 7pm on Capital FM.

Hey kids  This week we have another in the long line of shows that we are moving over from Patreon to the main feed.. this one is a doozy. This is what we had to say at the time.... Hey kids this time around on The POS we talk about The Dig, Play Streetfighter at Scandia, go to the casino, talk some BTS stuff about the transition to The ISR Show.. It's a super fun episode this time around. Hope you dig it! 

Slick or wrong?

JD Vance lies about SNAP cuts. Ben riffs. Rummana Hussain says—hey, wait, what about Kamala confessing she shoulda gone on Joe Rogan's show? Thus, a Kamala deep dive. Before we get down to the Usha/JD/Kirk triangle. Is Usha Vance the Stephen of her husband's political career? Stephen being Samuel Jackson's character from Django. The similarities between Bill Clinton and JD Vance. Rummana is a columnist for the Sun-Times. Her views are her own.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The best of conscious Hip Hop from Kenya and around the world selected and mixed by Slick every Sat from 5 - 7pm on 98.4 Capital FM.

Your favourite Pop, Rock & House jams from allover the globe mixed by Slick every Friday from 10am - 1pm on 98.4 Capital FM.

In this flavorful new episode of The Food Professor Podcast—presented by Caddle—Michael LeBlanc and Dr. Sylvain Charlebois serve up an inspiring conversation with Rob Sengotta, chef and co-founder of Von Slick's Finishing Touch, the award-winning Manitoba-based producer of gourmet compound butters.The InterviewRob takes listeners behind the scenes of his chef-to-entrepreneur journey—from fine-dining kitchens in London and France to building a small-batch butter business on the prairies. He shares how curiosity and culinary discipline led to Von Slick's signature push-tube packaging and eight imaginative flavours, including garlic confit, roasted red pepper, mushroom duxelle, and cowboy butter.Listeners learn how Rob and partner Landon Craker turned a spark of an idea into a thriving Western Canadian brand by mastering distribution, leveraging farmers' markets, and staying creative on social media. Rob reflects on his early appearance on Dragon's Den, the lessons learned about timing and valuation, and the advantages of remaining proudly local. He also reveals new restaurant-format products, growing online sales nationwide, and why Canadians' appetite for supporting homegrown brands continues to expand.The NewsIn the first half, Sylvain reports live from Medellín, Colombia, where he's attending an international conference on rural food economies. He offers a fascinating window into Colombia's agricultural transformation—how coffee and cocoa remain vital exports and how farmers are striving to move beyond decades of narcotics-driven instability.Back in Canada, Michael and Sylvain unpack the latest headlines:CFIA factory inspections and the urgent need for transparency;Health Canada's cloned-meat consultations, why silent science can backfire, and the parallels to GMO controversies;Parliamentary hearings on the grocery code of conduct and why supplier–retailer trust still drives price volatility;Bank of Canada's rate decision, its implications for restaurants and food-service recovery; andThere is a growing debate over adopting a U.S.-style SNAP food-assistance program in Canada.This episode blends global perspective, policy insight, and entrepreneurial inspiration—proving again that from farm to fork, the Canadian food economy is as complex as it is delicious. The Food Professor #podcast is presented by Caddle. About UsDr. Sylvain Charlebois is a Professor in food distribution and policy in the Faculties of Management and Agriculture at Dalhousie University in Halifax. He is also the Senior Director of the Agri-food Analytics Lab, also located at Dalhousie University. Before joining Dalhousie, he was affiliated with the University of Guelph's Arrell Food Institute, which he co-founded. Known as “The Food Professor”, his current research interest lies in the broad area of food distribution, security and safety. Google Scholar ranks him as one of the world's most cited scholars in food supply chain management, food value chains and traceability.He has authored five books on global food systems, his most recent one published in 2017 by Wiley-Blackwell entitled “Food Safety, Risk Intelligence and Benchmarking”. He has also published over 500 peer-reviewed journal articles in several academic publications. Furthermore, his research has been featured in several newspapers and media groups, including The Lancet, The Economist, the New York Times, the Boston Globe, the Wall Street Journal, Washington Post, BBC, NBC, ABC, Fox News, Foreign Affairs, the Globe & Mail, the National Post and the Toronto Star.Dr. Charlebois sits on a few company boards, and supports many organizations as a special advisor, including some publicly traded companies. Charlebois is also a member of the Scientific Council of the Business Scientific Institute, based in Luxemburg. Dr. Charlebois is a member of the Global Food Traceability Centre's Advisory Board based in Washington DC, and a member of the National Scientific Committee of the Canadian Food Inspection Agency (CFIA) in Ottawa. Michael LeBlanc is the president and founder of M.E. LeBlanc & Company Inc, a senior retail advisor, keynote speaker and now, media entrepreneur. He has been on the front lines of retail industry change for his entire career. Michael has delivered keynotes, hosted fire-side discussions and participated worldwide in thought leadership panels, most recently on the main stage in Toronto at Retail Council of Canada's Retail Marketing conference with leaders from Walmart & Google. He brings 25+ years of brand/retail/marketing & eCommerce leadership experience with Levi's, Black & Decker, Hudson's Bay, CanWest Media, Pandora Jewellery, The Shopping Channel and Retail Council of Canada to his advisory, speaking and media practice.Michael produces and hosts a network of leading retail trade podcasts, including the award-winning No.1 independent retail industry podcast in America, Remarkable Retail with his partner, Dallas-based best-selling author Steve Dennis; Canada's top retail industry podcast The Voice of Retail and Canada's top food industry and one of the top Canadian-produced management independent podcasts in the country, The Food Professor with Dr. Sylvain Charlebois from Dalhousie University in Halifax.Rethink Retail has recognized Michael as one of the top global retail experts for the fourth year in a row, Thinkers 360 has named him on of the Top 50 global thought leaders in retail, RTIH has named him a top 100 global though leader in retail technology and Coresight Research has named Michael a Retail AI Influencer. If you are a BBQ fan, you can tune into Michael's cooking show, Last Request BBQ, on YouTube, Instagram, X and yes, TikTok.Michael is available for keynote presentations helping retailers, brands and retail industry insiders explaining the current state and future of the retail industry in North America and around the world.

Ep 219 includes a great conversation with Pertnear Pro-Staffer Joe Harvey about 5 years of life in a submarine. Slick and Big Willy are at camp with Joe and gearing up for a late Oct Rut hunt! Many thanks to Joe Harvey for his service to our country! So very proud of you Joe and grateful to have you back at camp with us!

#MixAt6 with Slick every Tuesday from 6 - 6:30pm on Capital FM Kenya.

Open Format ting with Slick every Thursday from 7:30 - 10pm on Capital FM Kenya.

The best of Pop, Rock & House mixed by Slick every Friday from 10am - 1pm on Capital FM Kenya.

Slick plays the best of new and old Pop, Rock & House every Friday from 10am - 2pm on Capital Fm Kenya.

Ward Richmond was a member of the Dallas staple (dare I say 'infamous') bands, Slick 57 and Boys Named Sue. Slick 57 toured extensively throughout the country as well as overseas in Europe and Australia. He has since gone on to release 4 solo albums, two as The Warden and two under his own name. His 5th and newest album, "Big Addict Energy" drops this November. His latest single, "The Non-alcoholic Beer Drinkin Man" is out now streaming everywhere. In this episode we get into Ward's continuing sober journey and how he handles his big addict energy. We also hear the story of that time Ward started a hip hop group and opened for Ludacris, while almost getting booed off the stage and having beer bottles thrown at him.  Be sure to check out Ward's own podcast, Truckin' On. Where he sits down with fellow musicians, entrepreneurs, spiritual seekers, and everyday legends to talk about life without filters. https://www.truckinon.com/ . Follow The Strangest Gig on Instagram: @thestrangestgig . Chris J Norwood & The Knockdown Dragout's new single, a cover of the Spoon classic "I Turn My Camera On", is OUT NOW. Streaming everywhere you listen to good music. Thor Christensen of The Dallas Morning News says, "Leave it to Dallas singer Chris J Norwood to zero in on Spoon's funky side."  See Chris and his background singers, The Knockouts, LIVE in a special trio edition on Fri. Nov. 7 opening up for Ruthie Foster at The Kessler Theater. Tickets at www.thekessler.org  

Camille and Rich sit down with one of their all time favorite hometown voices, Ward Richmond, a musician, dad, real estate broker, podcast host, and proud East Dallas native. Ward grew up sneaking into Reverend Horton Heat and Tripping Daisy shows, eventually becoming a staple of the Dallas music scene with bands like Slick 57 and Boys Named Sue. Today, he brings raw honesty and Texas storytelling to his solo work including his upcoming third album Big Addict Energy produced by John Pedigo.In this conversation Ward opens up about addiction, recovery, and finding peace through music, yoga, meditation, and fatherhood. He talks about the inspiration behind his songs, the friends and collaborators who shaped his journey, and why his Dallas roots will always be at the center of his story.This episode is about more than music. It is about resilience, community, and the power of truth.Connect with us! Instagram - Facebook www.visiteastdallas.comPartner with us! connect@visiteastdallas.com

Part 1 --- Hope you all had a good international break but it's time to get back into FPL Mode (oo err). To help with your decisions, Az and Andy are on hand to talk you through all things Arsenal, Newcastle options, Liverpool's dip in form... and more! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Part 2 --- Hope you all had a good international break but it's time to get back into FPL Mode (oo err). To help with your decisions, Az and Andy are on hand to talk you through all things Arsenal, Newcastle options, Liverpool's dip in form... and more! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Howdy & aloha! Airey Bros Radio laces up with Coach Chase Englestead, Head Men's & Women's Cross Country Coach at Snow College (Richfield/Ephraim, UT). Hired in 2024 to launch the Badgers' program, Chase already has the men ranked #6 and women #7 in the NJCAA national poll. We dig into Utah's deep distance culture, JUCO recruiting, elevation training (5,300–10,000 ft), Lydiard-inspired aerobic development (with selective double-threshold), the benefits of a tight small-campus setup, LDS mission maturity, and why Snow wants to make D1s nervous at invites—then points to Fort Dodge in November and the NJCAA Half Marathon.What you'll learnHow to build a brand-new JUCO XC program into a national Top-10 in two yearsWhy Snow College's elevation, trails, housing, and price are a recruiting cheat codeTraining philosophy: big aerobic base, thresholds, strength, and when double-thresholds make senseCulture > times: selecting athletes who raise the standard and stick with the processHow roster caps + Utah's pipeline are reshaping the JUCO → D1 pathwayLinksSnow College XC/Track: https://snowbadgers.com/sports/mens-cross-country Snow XC: @snowcrosscountryAirey Bros Radio (YouTube): https://youtube.com/aireybrosradioAirey Bros Radio @aireybrosradio Fueled by Black Sheep Endurance Coaching: https://www.blacksheependurance.comShow notes & timestamps: 0:00 Howdy & aloha + ABR mission (shine light on JUCO/NAIA/D2/D3)2:36 Guest intro: Coach Chase Englestead — hired 2024; Men #6 / Women #7 NJCAA5:08 Origin story: small-town Utah → discovering running → ownership & accountability8:12 JUCO roots at UVSC/UVU: mileage jump, All-American, steeple/1500 records; D1 transition & probation11:01 Choosing coaching: family of coaches; HS first to build & learn12:26 Riverton HS culture build; Nike Cross regionals rise15:25 Why Snow College: home state, elevation & trails, giving back; late hire & Year-1 scramble20:50 Year-2 jump: full recruiting cycle; Top-10 expectations in Utah's distance scene22:31 Stigma shift: JUCO in Utah post-Isaac Wood; roster-cap effects24:44 “Diamonds in the rough” development stories25:54 Roster size realities; culture-first recruiting28:05 A week in the chair: early mornings, Tue/Thu recruit calls, summer team runs30:01 One year vs two years at Snow? Athlete-first pathways to four-year programs31:06 Form check: confidence high; “make D1s nervous when Snow shows up”32:07 Long run workout (pace toggles) + pack fitness33:14 Training philosophy: Lydiard base, aerobic strength; when double threshold fits37:05 Individualization; safe volumes before doubles37:58 Campus fit: two campuses, on-campus housing, track ~200m, pool ~600m, bike path & mountain singletrack39:58 Why a small campus helps serious runners (sleep, routine, fewer distractions)41:25 Roster mix: Utah core + out-of-state; Americans-only pride vs international budget realities44:30 Value case: ~$2k tuition/semester + ~$2.5k housing46:09 Athletes to watch (W: Rhys Moss, Brighton Gold; M: Made, Tim, Carter Day, David Barlo, Brett Bailey, Von Wallace)48:35 Slick transfers; NJCAA Half Marathon plans49:36 Weather & Fort Dodge readiness; altitude advantage50:35 Elevation menu: dorms ~5,300 ft; quick access to 8k–12k ft52:00 Fall schedule: SUU (10/4), Utah State (10/10), hosting SWAC at Palisade State Park53:48 LDS mission benefits: discipline, perspective, adversity skills56:45 Final Four: no soda since 2000, routines, 60 mpw streak, books/pods, spikeball1:03:37 Wrap: Badgers links; ABR back Wed with Ranger College

Slick plays the best of Pop, Rock & EDM on Capital Fm's 'The Fuse' every Friday from 10 - 1pm.

Oklahoma Bigfoot Nine Feet TallBorn in 1965 in eastern Oklahoma, he grew up immersed in outdoor life, hunting and fishing with family and best friend Slick. In early spring, they camped in the remote Blue Mountains for a fishing trip. After a quiet first night disturbed by rustling outside their truck, they fished all day but felt watched on the return hike. Hearing knocks from a bluff and rocks splashing into the creek, with a treetop swaying inexplicably, they fired warning shots into the wall and fled to their vehicle, convinced they'd encountered something like Bigfoot, though they saw no figure. At age 12, visiting his brother at a logging camp in Oregon's Monmouth mountains, the narrator spotted enormous, fresh 20-inch barefoot prints in the dusty road while heading to town. Local loggers, familiar with such tracks and even sightings of the creatures, confirmed the phenomenon, leaving the boy terrified and plagued by nightmares for days. In summer 1993, fishing a bass tournament on Greenleaf Lake in Arkansas amid dense woods and military land, the narrator and his brother spotted a massive shadow in shallow water under moonlight. It growled deeply, plowed through the water creating a huge wake, and crashed ashore, barreling uphill through timber like a bulldozer—estimated at nine feet tall. The next day, they found large impressions on the bank and trailed broken arm-thick limbs snapped at seven feet high for 300 yards. Certain it wasn't a bear but a curious Sasquatch, the narrator keeps the story secret to spare his young sons fear while hunting locally.Join my Supporters Club for $4.99 per month for exclusive stories:https://www.spreaker.com/podcast/what-if-it-s-true-podcast--5445587/support

Hosts Adam and Kyle talk with Slick Rocha's sons, Mat Jr. and David, about their father's military past, legendary softball skills, and his impact as a youth coach.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Spike and Slick are robbers who are doing very well disguised as the Green Hornet. Beware the double-cross.Originally aired: March 4, 1944

It's Die Hard in a phone booth!This week on DIE HARD ON A BLANK we're in a glass case of emotion with special guests Katie Walsh and Blake Howard as we discuss the 2002 high-concept thriller PHONE BOOTH, starring Colin Farrell and Forest Whitaker!Slick, sleazy, unscrupulous celebrity publicist Stu Shepard (Colin Farrell) lies for a living, hustling on behalf of his clients while strutting the streets of New York, and constantly making and taking phone calls with the help of a young intern named Adam (Keith Nobbs). However, while visiting one of the city's few remaining phone booths to secretly call a young actress he is trying to sleep with behind his wife's back, Stu suddenly finds himself in the middle of a terrifying situation…when an unidentified “Caller” (Kiefer Sutherland) informs Stu that he will kill him with a sniper rifle unless he remains in the phone booth and follows all his demands… As the two hosts of the MIAMI NICE podcast, our friends Blake and Katie are no stronger to the joys of Colin Farrell…nor of director Joel Schumacher, whose life, career and filmmaking style are all discussed at length. We also get into the film's long and tortured development history, other directors who were considered to helm Larry Cohen's long-gestating screenplay (including Michael Bay), and of course, the surprisingly high amount of “Die Hard DNA” crammed into that confined space. We hand out some awards in the “Die Hard Oscars” and wrap things up with the “Double Jeopardy Quiz”…where the scores can really change. Schumacher stans rise up!TRAILER: https://www.youtube.com/watch?v=gUqTCsjCsA8At the time of release, PHONE BOOTH is available to rent or buy on Amazon Prime Video, Apple TV/iTunes, YouTube, Fandango and all the usual platforms!Click here to subscribe to our Patreon feed 48 HOURS OF BUDDY MOVIES!www.patreon.com/48hoursofbuddymovies Hosted on Acast. See acast.com/privacy for more information.

Today we invite Jon Slick to discuss the transition from high school to college running! Jon and Landon go in-depth into the change between their high school teams and running at SUNY Cortland.

Parthy, MANIAC, Slick and Jake break down All Out, Wrestlepalooza and so much more!

(00:00-32:21) – Query & Company opens on a somber Wednesday with Jake Query celebrating the life of Nancy Leonard. Jake starts the show by sharing the story about Slick & Nancy Leonard meeting to Nancy saving the Indiana Pacers franchise. Bill Benner joins the show to discuss the impact Nancy had on him, the impact she had on professional sports, hopes that people will pass on the story of Nancy Leonard being the reason that the Pacers and Fever are here, and shares some stories that he will always cherish. (32:21-34:40) – Jake shares the statement that the Indiana Pacers made about the passing of Nancy Leonard. (34:40-43:39) – The first hour of the show concludes with Jake and Eddie discussing the injury updates on Kenny Moore II and Alec Pierce, the addition the Pacers made yesterday, and the Fever falling to the Aces last night. (43:39-1:08:24) – Pacers radio broadcaster, Mark Boyle, joins the show to discuss the partnership between Slick Leonard and Nancy Leonard, believes that downtown Indianapolis would not be what it is today without Nancy Leonard keeping the Pacers franchise alive, his understanding on how Nancy was respected when she was in the front office in the early stages of the franchise, and his relationship with the Leonard’s over the years. (1:08:24-1:14:53) – Marian Knights Head Coach Ted Karras joins the show to preview a monumental matchup this weekend for his team against Indiana Wesleyan. Coach Karras highlights a couple of players that have impressed in the early goings of the season and comments on what he likes right now about his team. (1:14:53-1:29:55) – Kevin Pritchard, President of Basketball Operations for the Indiana Pacers, rounds out the second hour of the show by discussing the impact Nancy Leonard had on him, shares what he remembers watching the telethon, the joy that Nancy Leonard had with the team no matter if they were winning or losing, and reacts to a suggestion on what number should be associated with here in the rafters. (1:29:55-1:54:36) – Indianapolis historian, author, and former Pacers writer, Mark Montieth joins Query & Company to share some stories about Nancy Leonard. Mark tells the story as to how the infamous telethon was put together, how she convinced Darnel Hillman to participate in the first ever dunk contest, and discusses her relationship with Slick Leonard. (1:54:36-2:09:25) – The Query & Company Sports Medicine guru, Ralph Reiff from Reiff Executive Performance Solutions, joins the show to explain what the recovery timeline and situation looks like for Kenny Moore II and discusses the injuries suffered to Tyrone Tracy Jr., Ceedee Lamb, and Terry McLaurin over the weekend. (2:09:25-2:14:48) – Today’s show closes out with JMV joining Jake Query from Pickel on Penn to discuss his show and the passing of Nancy Leonard.Support the show: https://1075thefan.com/query-and-company/See omnystudio.com/listener for privacy information.

This week we look at more "Slick Mick's Pix" where we look at Andre/Dusty, Andre/Pat Patterson, Verne putting his hair on the line and more! We have a new one stop shop for AWA Unleashed merch, it's https://www.teepublic.com/user/unleashed-plus.  

Today we're going to talk about slick signups, or not. This could get you into deep doo doo if you sign up easily, and you'll see what we're talking about here when we bring our super duper guest on. Social Logins - https://www.lumiun.com/blog/en/login-with-social-networks-what-are-the-risks-of-using-your-google-or-facebook-account-on-other-websites/ Screw The Commute Podcast Show Notes Episode 1037 How To Automate Your Business - https://screwthecommute.com/automatefree/ Internet Marketing Training Center - https://imtcva.org/ Higher Education Webinar – https://screwthecommute.com/webinars See Tom's Stuff – https://linktr.ee/antionandassociates 00:23 Tom's introduction to Slick Signups 03:44 "Social Login" is not necessarily a good idea 06:38 Advantages and disadvantages 08:51 Managing your passwords 15:08 Data leaks can cause real problems 20:53 How to undo using social logins Entrepreneurial Resources Mentioned in This Podcast Higher Education Webinar - https://screwthecommute.com/webinars Screw The Commute - https://screwthecommute.com/ Screw The Commute Podcast App - https://screwthecommute.com/app/ College Ripoff Quiz - https://imtcva.org/quiz Know a young person for our Youth Episode Series? Send an email to Tom! - orders@antion.com Have a Roku box? Find Tom's Public Speaking Channel there! - https://channelstore.roku.com/details/267358/the-public-speaking-channel How To Automate Your Business - https://screwthecommute.com/automatefree/ Internet Marketing Retreat and Joint Venture Program - https://greatinternetmarketingtraining.com/ Kartra - https://screwthecommute.com/kartra/ Copywriting901 - https://copywriting901.com/ Become a Great Podcast Guest - https://screwthecommute.com/greatpodcastguest Training - https://screwthecommute.com/training Disabilities Page - https://imtcva.org/disabilities/ Tom's Patreon Page - https://screwthecommute.com/patreon/ Tom on TikTok - https://tiktok.com/@digitalmultimillionaire/ Email Tom: Tom@ScrewTheCommute.com Internet Marketing Training Center - https://imtcva.org/ Related Episodes Teleprompters Part 2 - https://screwthecommute.com/1036/ More Entrepreneurial Resources for Home Based Business, Lifestyle Business, Passive Income, Professional Speaking and Online Business I discovered a great new headline / subject line / subheading generator that will actually analyze which headlines and subject lines are best for your market. I negotiated a deal with the developer of this revolutionary and inexpensive software. Oh, and it's good on Mac and PC. Go here: http://jvz1.com/c/41743/183906 The Wordpress Ecourse. Learn how to Make World Class Websites for $20 or less. https://screwthecommute.com/wordpressecourse/ Join our Private Facebook Group! One week trial for only a buck and then $37 a month, or save a ton with one payment of $297 for a year. Click the image to see all the details and sign up or go to https://www.greatinternetmarketing.com/screwthecommute/ After you sign up, check your email for instructions on getting in the group.

Steve Turek. Kevin Slick. Peter Lorre. Fritz Lang. This week, the podcast revisits the classic 1931 film M. Plus Mark Matzke's Beta Capsule Review (Ultraman Taro)! Voicemail: (360) 524-2484‬ Email: Deth Designs - Monster Kid Radio on Patreon - Monster Kid Radio on Twitch! - Monster Kid Radio on YouTube - Follow Mark Matzke Small Town Monsters - Follow Kevin SlickMusic, Photography, and More - Kevin Slick on YouTube - Follow Steve TurekDieCast Movie Podcast - Ray Harryhausen: Miniature Models of the Silver Screen - Deth Designs - Classic Horror Film Board - Executive Producer -  "" () provided courtesy of  Bride of Monster Kid Radio is a Production. All original content of Bride of Monster Kid Radio is licensed under a . You can learn more about Team Deth, our other projects like Deth Merchant, Mail Order Zombie, Deth Writer, and more at . Please rate and review Monster Kid Radio wherever you download your favorite podcasts. Next time on Bride of Monster Kid Radio:

Here is the latest Monday Night Project Welcome to this episode of Monday Night Project, this week we cover WWF Prime Time & MSG from January 21st 1991 where we will see :- Paul Roma & Hercules (w/ Slick) vs Saba Simba & Paul Diamond Jake Roberts vs Bob Bradley The Undertaker (w/ Brother Love) vs Sonny Blaze Saba Simba vs Greg Valentine (w/ Jimmy Hart) Greg Valentine vs Buddy Rose Tugboat vs Dino Bravo (w/ Jimmy Hart) Koko B. Ware vs. Tito Santana The Bushwhackers (Butch & Luke) vs. The Nasty Boys (Brian Knobbs & Jerry Sags) (w/Jimmy Hart) Steel CageThe Ultimate Warrior vs. Randy Savage (w/Queen Sherri) Follow the show on facebook Memphis Continental Wrestling Cast (facebook.com/memphiscast) Check out Youtube.com/@memphiscast & patreon.com/memphiscast for videos You can watch the show https://www.patreon.com/posts/wwf-prime-time-136161056?utm_medium=clipboard_copy&utm_source=copyLink&utm_campaign=postshare_creator&utm_content=join_link & MSG https://www.patreon.com/posts/wwf-msg-january-136168238?utm_medium=clipboard_copy&utm_source=copyLink&utm_campaign=postshare_creator&utm_content=join_link

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The MRN broadcast of the 1995 Slick 50 300 from New Hampshire Motor Speedway. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Vampires today? Slick hair, silk capes. Some eve sparkle. Vampires back then? Bloated corpses crawling out of the dirt to ruin your crops and torment you with whispering your sins in the dark. In this week's episode, the Hosts dig deep—literally—into two of Britain's grimiest, creepiest, nastiest vampire legends: the Berwick Revenant and the Melrose Chaplain. These aren't your Victorian nightwalkers with dinner reservations and box seats at the opera! These are medieval undead freakshows with unfinished business. First, we head to Berwick-on-Tweed, where a pious man dies, only to rise again each night—chased through the streets by hellhounds from the fiery below. Then it's off to Melrose Abbey, where a debauched priest refuses to stay in the ground, creeping back from the grave to haunt his former patron - and anyone else who skipped evening prayers. What do these revenants want?... Blood? Maybe... Redemption? Doubtful... Peace? Only if you burn the body and do it fast. Join us as we dive into plague, purgatory, and the part of vampire folklore where the vamps aren't sexy—they're just filthy. Citizens of the Milky Way, prepare yourselves for The Revenants of Berwick & Melrose!Music & Editing by Gage Hurley++++Check out our Patreon: https://www.patreon.com/creepstreetpodcastInstagram: https://www.instagram.com/creepstreetpodcastYouTube: https://youtube.com/@creepstreetpodcast5062?feature=sharedTikTok: https://www.tiktok.com/@creepstreetpodcast#Vampires #HauntedHistory #ScottishHistory #ParanormalPodcast #TrueParanormal #HauntedScotland #ScottishVampires #Berwick #Melrose #Folklore #CreepStreetPodcast #ParanormalStories #CursedHistory #GhostStories #SupernaturalTales #UrbanLegends #DarkHistory #Macabre #OccultStories #HauntedPlaces #Scotland #ScottishFolklore #ScottishMyths #UKFolklore #UKParanormal #ScottishLegends #ScottishHauntings #Borderlands #HistoricScotland #PodcastLife #StorytellingPodcast #CreepyContent #SpookySeason #TrueHorror #WeirdHistory #HistoryPodcast #FolklorePodcast #SupernaturalPodcast