Podcasts about Stagehand

Today's episode is with Paul Klein, founder of Browserbase. We talked about building browser infrastructure for AI agents, the future of agent authentication, and their open source framework Stagehand.* [00:00:00] Introductions* [00:04:46] AI-specific challenges in browser infrastructure* [00:07:05] Multimodality in AI-Powered Browsing* [00:12:26] Running headless browsers at scale* [00:18:46] Geolocation when proxying* [00:21:25] CAPTCHAs and Agent Auth* [00:28:21] Building “User take over” functionality* [00:33:43] Stagehand: AI web browsing framework* [00:38:58] OpenAI's Operator and computer use agents* [00:44:44] Surprising use cases of Browserbase* [00:47:18] Future of browser automation and market competition* [00:53:11] Being a solo founderTranscriptAlessio [00:00:04]: Hey everyone, welcome to the Latent Space podcast. This is Alessio, partner and CTO at Decibel Partners, and I'm joined by my co-host Swyx, founder of Smol.ai.swyx [00:00:12]: Hey, and today we are very blessed to have our friends, Paul Klein, for the fourth, the fourth, CEO of Browserbase. Welcome.Paul [00:00:21]: Thanks guys. Yeah, I'm happy to be here. I've been lucky to know both of you for like a couple of years now, I think. So it's just like we're hanging out, you know, with three ginormous microphones in front of our face. It's totally normal hangout.swyx [00:00:34]: Yeah. We've actually mentioned you on the podcast, I think, more often than any other Solaris tenant. Just because like you're one of the, you know, best performing, I think, LLM tool companies that have started up in the last couple of years.Paul [00:00:50]: Yeah, I mean, it's been a whirlwind of a year, like Browserbase is actually pretty close to our first birthday. So we are one years old. And going from, you know, starting a company as a solo founder to... To, you know, having a team of 20 people, you know, a series A, but also being able to support hundreds of AI companies that are building AI applications that go out and automate the web. It's just been like, really cool. It's been happening a little too fast. I think like collectively as an AI industry, let's just take a week off together. I took my first vacation actually two weeks ago, and Operator came out on the first day, and then a week later, DeepSeat came out. And I'm like on vacation trying to chill. I'm like, we got to build with this stuff, right? So it's been a breakneck year. But I'm super happy to be here and like talk more about all the stuff we're seeing. And I'd love to hear kind of what you guys are excited about too, and share with it, you know?swyx [00:01:39]: Where to start? So people, you've done a bunch of podcasts. I think I strongly recommend Jack Bridger's Scaling DevTools, as well as Turner Novak's The Peel. And, you know, I'm sure there's others. So you covered your Twilio story in the past, talked about StreamClub, you got acquired to Mux, and then you left to start Browserbase. So maybe we just start with what is Browserbase? Yeah.Paul [00:02:02]: Browserbase is the web browser for your AI. We're building headless browser infrastructure, which are browsers that run in a server environment that's accessible to developers via APIs and SDKs. It's really hard to run a web browser in the cloud. You guys are probably running Chrome on your computers, and that's using a lot of resources, right? So if you want to run a web browser or thousands of web browsers, you can't just spin up a bunch of lambdas. You actually need to use a secure containerized environment. You have to scale it up and down. It's a stateful system. And that infrastructure is, like, super painful. And I know that firsthand, because at my last company, StreamClub, I was CTO, and I was building our own internal headless browser infrastructure. That's actually why we sold the company, is because Mux really wanted to buy our headless browser infrastructure that we'd built. And it's just a super hard problem. And I actually told my co-founders, I would never start another company unless it was a browser infrastructure company. And it turns out that's really necessary in the age of AI, when AI can actually go out and interact with websites, click on buttons, fill in forms. You need AI to do all of that work in an actual browser running somewhere on a server. And BrowserBase powers that.swyx [00:03:08]: While you're talking about it, it occurred to me, not that you're going to be acquired or anything, but it occurred to me that it would be really funny if you became the Nikita Beer of headless browser companies. You just have one trick, and you make browser companies that get acquired.Paul [00:03:23]: I truly do only have one trick. I'm screwed if it's not for headless browsers. I'm not a Go programmer. You know, I'm in AI grant. You know, browsers is an AI grant. But we were the only company in that AI grant batch that used zero dollars on AI spend. You know, we're purely an infrastructure company. So as much as people want to ask me about reinforcement learning, I might not be the best guy to talk about that. But if you want to ask about headless browser infrastructure at scale, I can talk your ear off. So that's really my area of expertise. And it's a pretty niche thing. Like, nobody has done what we're doing at scale before. So we're happy to be the experts.swyx [00:03:59]: You do have an AI thing, stagehand. We can talk about the sort of core of browser-based first, and then maybe stagehand. Yeah, stagehand is kind of the web browsing framework. Yeah.What is Browserbase? Headless Browser Infrastructure ExplainedAlessio [00:04:10]: Yeah. Yeah. And maybe how you got to browser-based and what problems you saw. So one of the first things I worked on as a software engineer was integration testing. Sauce Labs was kind of like the main thing at the time. And then we had Selenium, we had Playbrite, we had all these different browser things. But it's always been super hard to do. So obviously you've worked on this before. When you started browser-based, what were the challenges? What were the AI-specific challenges that you saw versus, there's kind of like all the usual running browser at scale in the cloud, which has been a problem for years. What are like the AI unique things that you saw that like traditional purchase just didn't cover? Yeah.AI-specific challenges in browser infrastructurePaul [00:04:46]: First and foremost, I think back to like the first thing I did as a developer, like as a kid when I was writing code, I wanted to write code that did stuff for me. You know, I wanted to write code to automate my life. And I do that probably by using curl or beautiful soup to fetch data from a web browser. And I think I still do that now that I'm in the cloud. And the other thing that I think is a huge challenge for me is that you can't just create a web site and parse that data. And we all know that now like, you know, taking HTML and plugging that into an LLM, you can extract insights, you can summarize. So it was very clear that now like dynamic web scraping became very possible with the rise of large language models or a lot easier. And that was like a clear reason why there's been more usage of headless browsers, which are necessary because a lot of modern websites don't expose all of their page content via a simple HTTP request. You know, they actually do require you to run this type of code for a specific time. JavaScript on the page to hydrate this. Airbnb is a great example. You go to airbnb.com. A lot of that content on the page isn't there until after they run the initial hydration. So you can't just scrape it with a curl. You need to have some JavaScript run. And a browser is that JavaScript engine that's going to actually run all those requests on the page. So web data retrieval was definitely one driver of starting BrowserBase and the rise of being able to summarize that within LLM. Also, I was familiar with if I wanted to automate a website, I could write one script and that would work for one website. It was very static and deterministic. But the web is non-deterministic. The web is always changing. And until we had LLMs, there was no way to write scripts that you could write once that would run on any website. That would change with the structure of the website. Click the login button. It could mean something different on many different websites. And LLMs allow us to generate code on the fly to actually control that. So I think that rise of writing the generic automation scripts that can work on many different websites, to me, made it clear that browsers are going to be a lot more useful because now you can automate a lot more things without writing. If you wanted to write a script to book a demo call on 100 websites, previously, you had to write 100 scripts. Now you write one script that uses LLMs to generate that script. That's why we built our web browsing framework, StageHand, which does a lot of that work for you. But those two things, web data collection and then enhanced automation of many different websites, it just felt like big drivers for more browser infrastructure that would be required to power these kinds of features.Alessio [00:07:05]: And was multimodality also a big thing?Paul [00:07:08]: Now you can use the LLMs to look, even though the text in the dome might not be as friendly. Maybe my hot take is I was always kind of like, I didn't think vision would be as big of a driver. For UI automation, I felt like, you know, HTML is structured text and large language models are good with structured text. But it's clear that these computer use models are often vision driven, and they've been really pushing things forward. So definitely being multimodal, like rendering the page is required to take a screenshot to give that to a computer use model to take actions on a website. And it's just another win for browser. But I'll be honest, that wasn't what I was thinking early on. I didn't even think that we'd get here so fast with multimodality. I think we're going to have to get back to multimodal and vision models.swyx [00:07:50]: This is one of those things where I forgot to mention in my intro that I'm an investor in Browserbase. And I remember that when you pitched to me, like a lot of the stuff that we have today, we like wasn't on the original conversation. But I did have my original thesis was something that we've talked about on the podcast before, which is take the GPT store, the custom GPT store, all the every single checkbox and plugin is effectively a startup. And this was the browser one. I think the main hesitation, I think I actually took a while to get back to you. The main hesitation was that there were others. Like you're not the first hit list browser startup. It's not even your first hit list browser startup. There's always a question of like, will you be the category winner in a place where there's a bunch of incumbents, to be honest, that are bigger than you? They're just not targeted at the AI space. They don't have the backing of Nat Friedman. And there's a bunch of like, you're here in Silicon Valley. They're not. I don't know.Paul [00:08:47]: I don't know if that's, that was it, but like, there was a, yeah, I mean, like, I think I tried all the other ones and I was like, really disappointed. Like my background is from working at great developer tools, companies, and nothing had like the Vercel like experience. Um, like our biggest competitor actually is partly owned by private equity and they just jacked up their prices quite a bit. And the dashboard hasn't changed in five years. And I actually used them at my last company and tried them and I was like, oh man, like there really just needs to be something that's like the experience of these great infrastructure companies, like Stripe, like clerk, like Vercel that I use in love, but oriented towards this kind of like more specific category, which is browser infrastructure, which is really technically complex. Like a lot of stuff can go wrong on the internet when you're running a browser. The internet is very vast. There's a lot of different configurations. Like there's still websites that only work with internet explorer out there. How do you handle that when you're running your own browser infrastructure? These are the problems that we have to think about and solve at BrowserBase. And it's, it's certainly a labor of love, but I built this for me, first and foremost, I know it's super cheesy and everyone says that for like their startups, but it really, truly was for me. If you look at like the talks I've done even before BrowserBase, and I'm just like really excited to try and build a category defining infrastructure company. And it's, it's rare to have a new category of infrastructure exists. We're here in the Chroma offices and like, you know, vector databases is a new category of infrastructure. Is it, is it, I mean, we can, we're in their office, so, you know, we can, we can debate that one later. That is one.Multimodality in AI-Powered Browsingswyx [00:10:16]: That's one of the industry debates.Paul [00:10:17]: I guess we go back to the LLMOS talk that Karpathy gave way long ago. And like the browser box was very clearly there and it seemed like the people who were building in this space also agreed that browsers are a core primitive of infrastructure for the LLMOS that's going to exist in the future. And nobody was building something there that I wanted to use. So I had to go build it myself.swyx [00:10:38]: Yeah. I mean, exactly that talk that, that honestly, that diagram, every box is a startup and there's the code box and then there's the. The browser box. I think at some point they will start clashing there. There's always the question of the, are you a point solution or are you the sort of all in one? And I think the point solutions tend to win quickly, but then the only ones have a very tight cohesive experience. Yeah. Let's talk about just the hard problems of browser base you have on your website, which is beautiful. Thank you. Was there an agency that you used for that? Yeah. Herb.paris.Paul [00:11:11]: They're amazing. Herb.paris. Yeah. It's H-E-R-V-E. I highly recommend for developers. Developer tools, founders to work with consumer agencies because they end up building beautiful things and the Parisians know how to build beautiful interfaces. So I got to give prep.swyx [00:11:24]: And chat apps, apparently are, they are very fast. Oh yeah. The Mistral chat. Yeah. Mistral. Yeah.Paul [00:11:31]: Late chat.swyx [00:11:31]: Late chat. And then your videos as well, it was professionally shot, right? The series A video. Yeah.Alessio [00:11:36]: Nico did the videos. He's amazing. Not the initial video that you shot at the new one. First one was Austin.Paul [00:11:41]: Another, another video pretty surprised. But yeah, I mean, like, I think when you think about how you talk about your company. You have to think about the way you present yourself. It's, you know, as a developer, you think you evaluate a company based on like the API reliability and the P 95, but a lot of developers say, is the website good? Is the message clear? Do I like trust this founder? I'm building my whole feature on. So I've tried to nail that as well as like the reliability of the infrastructure. You're right. It's very hard. And there's a lot of kind of foot guns that you run into when running headless browsers at scale. Right.Competing with Existing Headless Browser Solutionsswyx [00:12:10]: So let's pick one. You have eight features here. Seamless integration. Scalability. Fast or speed. Secure. Observable. Stealth. That's interesting. Extensible and developer first. What comes to your mind as like the top two, three hardest ones? Yeah.Running headless browsers at scalePaul [00:12:26]: I think just running headless browsers at scale is like the hardest one. And maybe can I nerd out for a second? Is that okay? I heard this is a technical audience, so I'll talk to the other nerds. Whoa. They were listening. Yeah. They're upset. They're ready. The AGI is angry. Okay. So. So how do you run a browser in the cloud? Let's start with that, right? So let's say you're using a popular browser automation framework like Puppeteer, Playwright, and Selenium. Maybe you've written a code, some code locally on your computer that opens up Google. It finds the search bar and then types in, you know, search for Latent Space and hits the search button. That script works great locally. You can see the little browser open up. You want to take that to production. You want to run the script in a cloud environment. So when your laptop is closed, your browser is doing something. The browser is doing something. Well, I, we use Amazon. You can see the little browser open up. You know, the first thing I'd reach for is probably like some sort of serverless infrastructure. I would probably try and deploy on a Lambda. But Chrome itself is too big to run on a Lambda. It's over 250 megabytes. So you can't easily start it on a Lambda. So you maybe have to use something like Lambda layers to squeeze it in there. Maybe use a different Chromium build that's lighter. And you get it on the Lambda. Great. It works. But it runs super slowly. It's because Lambdas are very like resource limited. They only run like with one vCPU. You can run one process at a time. Remember, Chromium is super beefy. It's barely running on my MacBook Air. I'm still downloading it from a pre-run. Yeah, from the test earlier, right? I'm joking. But it's big, you know? So like Lambda, it just won't work really well. Maybe it'll work, but you need something faster. Your users want something faster. Okay. Well, let's put it on a beefier instance. Let's get an EC2 server running. Let's throw Chromium on there. Great. Okay. I can, that works well with one user. But what if I want to run like 10 Chromium instances, one for each of my users? Okay. Well, I might need two EC2 instances. Maybe 10. All of a sudden, you have multiple EC2 instances. This sounds like a problem for Kubernetes and Docker, right? Now, all of a sudden, you're using ECS or EKS, the Kubernetes or container solutions by Amazon. You're spending up and down containers, and you're spending a whole engineer's time on kind of maintaining this stateful distributed system. Those are some of the worst systems to run because when it's a stateful distributed system, it means that you are bound by the connections to that thing. You have to keep the browser open while someone is working with it, right? That's just a painful architecture to run. And there's all this other little gotchas with Chromium, like Chromium, which is the open source version of Chrome, by the way. You have to install all these fonts. You want emojis working in your browsers because your vision model is looking for the emoji. You need to make sure you have the emoji fonts. You need to make sure you have all the right extensions configured, like, oh, do you want ad blocking? How do you configure that? How do you actually record all these browser sessions? Like it's a headless browser. You can't look at it. So you need to have some sort of observability. Maybe you're recording videos and storing those somewhere. It all kind of adds up to be this just giant monster piece of your project when all you wanted to do was run a lot of browsers in production for this little script to go to google.com and search. And when I see a complex distributed system, I see an opportunity to build a great infrastructure company. And we really abstract that away with Browserbase where our customers can use these existing frameworks, Playwright, Publisher, Selenium, or our own stagehand and connect to our browsers in a serverless-like way. And control them, and then just disconnect when they're done. And they don't have to think about the complex distributed system behind all of that. They just get a browser running anywhere, anytime. Really easy to connect to.swyx [00:15:55]: I'm sure you have questions. My standard question with anything, so essentially you're a serverless browser company, and there's been other serverless things that I'm familiar with in the past, serverless GPUs, serverless website hosting. That's where I come from with Netlify. One question is just like, you promised to spin up thousands of servers. You promised to spin up thousands of browsers in milliseconds. I feel like there's no real solution that does that yet. And I'm just kind of curious how. The only solution I know, which is to kind of keep a kind of warm pool of servers around, which is expensive, but maybe not so expensive because it's just CPUs. So I'm just like, you know. Yeah.Browsers as a Core Primitive in AI InfrastructurePaul [00:16:36]: You nailed it, right? I mean, how do you offer a serverless-like experience with something that is clearly not serverless, right? And the answer is, you need to be able to run... We run many browsers on single nodes. We use Kubernetes at browser base. So we have many pods that are being scheduled. We have to predictably schedule them up or down. Yes, thousands of browsers in milliseconds is the best case scenario. If you hit us with 10,000 requests, you may hit a slower cold start, right? So we've done a lot of work on predictive scaling and being able to kind of route stuff to different regions where we have multiple regions of browser base where we have different pools available. You can also pick the region you want to go to based on like lower latency, round trip, time latency. It's very important with these types of things. There's a lot of requests going over the wire. So for us, like having a VM like Firecracker powering everything under the hood allows us to be super nimble and spin things up or down really quickly with strong multi-tenancy. But in the end, this is like the complex infrastructural challenges that we have to kind of deal with at browser base. And we have a lot more stuff on our roadmap to allow customers to have more levers to pull to exchange, do you want really fast browser startup times or do you want really low costs? And if you're willing to be more flexible on that, we may be able to kind of like work better for your use cases.swyx [00:17:44]: Since you used Firecracker, shouldn't Fargate do that for you or did you have to go lower level than that? We had to go lower level than that.Paul [00:17:51]: I find this a lot with Fargate customers, which is alarming for Fargate. We used to be a giant Fargate customer. Actually, the first version of browser base was ECS and Fargate. And unfortunately, it's a great product. I think we were actually the largest Fargate customer in our region for a little while. No, what? Yeah, seriously. And unfortunately, it's a great product, but I think if you're an infrastructure company, you actually have to have a deeper level of control over these primitives. I think it's the same thing is true with databases. We've used other database providers and I think-swyx [00:18:21]: Yeah, serverless Postgres.Paul [00:18:23]: Shocker. When you're an infrastructure company, you're on the hook if any provider has an outage. And I can't tell my customers like, hey, we went down because so-and-so went down. That's not acceptable. So for us, we've really moved to bringing things internally. It's kind of opposite of what we preach. We tell our customers, don't build this in-house, but then we're like, we build a lot of stuff in-house. But I think it just really depends on what is in the critical path. We try and have deep ownership of that.Alessio [00:18:46]: On the distributed location side, how does that work for the web where you might get sort of different content in different locations, but the customer is expecting, you know, if you're in the US, I'm expecting the US version. But if you're spinning up my browser in France, I might get the French version. Yeah.Paul [00:19:02]: Yeah. That's a good question. Well, generally, like on the localization, there is a thing called locale in the browser. You can set like what your locale is. If you're like in the ENUS browser or not, but some things do IP, IP based routing. And in that case, you may want to have a proxy. Like let's say you're running something in the, in Europe, but you want to make sure you're showing up from the US. You may want to use one of our proxy features so you can turn on proxies to say like, make sure these connections always come from the United States, which is necessary too, because when you're browsing the web, you're coming from like a, you know, data center IP, and that can make things a lot harder to browse web. So we do have kind of like this proxy super network. Yeah. We have a proxy for you based on where you're going, so you can reliably automate the web. But if you get scheduled in Europe, that doesn't happen as much. We try and schedule you as close to, you know, your origin that you're trying to go to. But generally you have control over the regions you can put your browsers in. So you can specify West one or East one or Europe. We only have one region of Europe right now, actually. Yeah.Alessio [00:19:55]: What's harder, the browser or the proxy? I feel like to me, it feels like actually proxying reliably at scale. It's much harder than spending up browsers at scale. I'm curious. It's all hard.Paul [00:20:06]: It's layers of hard, right? Yeah. I think it's different levels of hard. I think the thing with the proxy infrastructure is that we work with many different web proxy providers and some are better than others. Some have good days, some have bad days. And our customers who've built browser infrastructure on their own, they have to go and deal with sketchy actors. Like first they figure out their own browser infrastructure and then they got to go buy a proxy. And it's like you can pay in Bitcoin and it just kind of feels a little sus, right? It's like you're buying drugs when you're trying to get a proxy online. We have like deep relationships with these counterparties. We're able to audit them and say, is this proxy being sourced ethically? Like it's not running on someone's TV somewhere. Is it free range? Yeah. Free range organic proxies, right? Right. We do a level of diligence. We're SOC 2. So we have to understand what is going on here. But then we're able to make sure that like we route around proxy providers not working. There's proxy providers who will just, the proxy will stop working all of a sudden. And then if you don't have redundant proxying on your own browsers, that's hard down for you or you may get some serious impacts there. With us, like we intelligently know, hey, this proxy is not working. Let's go to this one. And you can kind of build a network of multiple providers to really guarantee the best uptime for our customers. Yeah. So you don't own any proxies? We don't own any proxies. You're right. The team has been saying who wants to like take home a little proxy server, but not yet. We're not there yet. You know?swyx [00:21:25]: It's a very mature market. I don't think you should build that yourself. Like you should just be a super customer of them. Yeah. Scraping, I think, is the main use case for that. I guess. Well, that leads us into CAPTCHAs and also off, but let's talk about CAPTCHAs. You had a little spiel that you wanted to talk about CAPTCHA stuff.Challenges of Scaling Browser InfrastructurePaul [00:21:43]: Oh, yeah. I was just, I think a lot of people ask, if you're thinking about proxies, you're thinking about CAPTCHAs too. I think it's the same thing. You can go buy CAPTCHA solvers online, but it's the same buying experience. It's some sketchy website, you have to integrate it. It's not fun to buy these things and you can't really trust that the docs are bad. What Browserbase does is we integrate a bunch of different CAPTCHAs. We do some stuff in-house, but generally we just integrate with a bunch of known vendors and continually monitor and maintain these things and say, is this working or not? Can we route around it or not? These are CAPTCHA solvers. CAPTCHA solvers, yeah. Not CAPTCHA providers, CAPTCHA solvers. Yeah, sorry. CAPTCHA solvers. We really try and make sure all of that works for you. I think as a dev, if I'm buying infrastructure, I want it all to work all the time and it's important for us to provide that experience by making sure everything does work and monitoring it on our own. Yeah. Right now, the world of CAPTCHAs is tricky. I think AI agents in particular are very much ahead of the internet infrastructure. CAPTCHAs are designed to block all types of bots, but there are now good bots and bad bots. I think in the future, CAPTCHAs will be able to identify who a good bot is, hopefully via some sort of KYC. For us, we've been very lucky. We have very little to no known abuse of Browserbase because we really look into who we work with. And for certain types of CAPTCHA solving, we only allow them on certain types of plans because we want to make sure that we can know what people are doing, what their use cases are. And that's really allowed us to try and be an arbiter of good bots, which is our long term goal. I want to build great relationships with people like Cloudflare so we can agree, hey, here are these acceptable bots. We'll identify them for you and make sure we flag when they come to your website. This is a good bot, you know?Alessio [00:23:23]: I see. And Cloudflare said they want to do more of this. So they're going to set by default, if they think you're an AI bot, they're going to reject. I'm curious if you think this is something that is going to be at the browser level or I mean, the DNS level with Cloudflare seems more where it should belong. But I'm curious how you think about it.Paul [00:23:40]: I think the web's going to change. You know, I think that the Internet as we have it right now is going to change. And we all need to just accept that the cat is out of the bag. And instead of kind of like wishing the Internet was like it was in the 2000s, we can have free content line that wouldn't be scraped. It's just it's not going to happen. And instead, we should think about like, one, how can we change? How can we change the models of, you know, information being published online so people can adequately commercialize it? But two, how do we rebuild applications that expect that AI agents are going to log in on their behalf? Those are the things that are going to allow us to kind of like identify good and bad bots. And I think the team at Clerk has been doing a really good job with this on the authentication side. I actually think that auth is the biggest thing that will prevent agents from accessing stuff, not captchas. And I think there will be agent auth in the future. I don't know if it's going to happen from an individual company, but actually authentication providers that have a, you know, hidden login as agent feature, which will then you put in your email, you'll get a push notification, say like, hey, your browser-based agent wants to log into your Airbnb. You can approve that and then the agent can proceed. That really circumvents the need for captchas or logging in as you and sharing your password. I think agent auth is going to be one way we identify good bots going forward. And I think a lot of this captcha solving stuff is really short-term problems as the internet kind of reorients itself around how it's going to work with agents browsing the web, just like people do. Yeah.Managing Distributed Browser Locations and Proxiesswyx [00:24:59]: Stitch recently was on Hacker News for talking about agent experience, AX, which is a thing that Netlify is also trying to clone and coin and talk about. And we've talked about this on our previous episodes before in a sense that I actually think that's like maybe the only part of the tech stack that needs to be kind of reinvented for agents. Everything else can stay the same, CLIs, APIs, whatever. But auth, yeah, we need agent auth. And it's mostly like short-lived, like it should not, it should be a distinct, identity from the human, but paired. I almost think like in the same way that every social network should have your main profile and then your alt accounts or your Finsta, it's almost like, you know, every, every human token should be paired with the agent token and the agent token can go and do stuff on behalf of the human token, but not be presumed to be the human. Yeah.Paul [00:25:48]: It's like, it's, it's actually very similar to OAuth is what I'm thinking. And, you know, Thread from Stitch is an investor, Colin from Clerk, Octaventures, all investors in browser-based because like, I hope they solve this because they'll make browser-based submission more possible. So we don't have to overcome all these hurdles, but I think it will be an OAuth-like flow where an agent will ask to log in as you, you'll approve the scopes. Like it can book an apartment on Airbnb, but it can't like message anybody. And then, you know, the agent will have some sort of like role-based access control within an application. Yeah. I'm excited for that.swyx [00:26:16]: The tricky part is just, there's one, one layer of delegation here, which is like, you're authoring my user's user or something like that. I don't know if that's tricky or not. Does that make sense? Yeah.Paul [00:26:25]: You know, actually at Twilio, I worked on the login identity and access. Management teams, right? So like I built Twilio's login page.swyx [00:26:31]: You were an intern on that team and then you became the lead in two years? Yeah.Paul [00:26:34]: Yeah. I started as an intern in 2016 and then I was the tech lead of that team. How? That's not normal. I didn't have a life. He's not normal. Look at this guy. I didn't have a girlfriend. I just loved my job. I don't know. I applied to 500 internships for my first job and I got rejected from every single one of them except for Twilio and then eventually Amazon. And they took a shot on me and like, I was getting paid money to write code, which was my dream. Yeah. Yeah. I'm very lucky that like this coding thing worked out because I was going to be doing it regardless. And yeah, I was able to kind of spend a lot of time on a team that was growing at a company that was growing. So it informed a lot of this stuff here. I think these are problems that have been solved with like the SAML protocol with SSO. I think it's a really interesting stuff with like WebAuthn, like these different types of authentication, like schemes that you can use to authenticate people. The tooling is all there. It just needs to be tweaked a little bit to work for agents. And I think the fact that there are companies that are already. Providing authentication as a service really sets it up. Well, the thing that's hard is like reinventing the internet for agents. We don't want to rebuild the internet. That's an impossible task. And I think people often say like, well, we'll have this second layer of APIs built for agents. I'm like, we will for the top use cases, but instead of we can just tweak the internet as is, which is on the authentication side, I think we're going to be the dumb ones going forward. Unfortunately, I think AI is going to be able to do a lot of the tasks that we do online, which means that it will be able to go to websites, click buttons on our behalf and log in on our behalf too. So with this kind of like web agent future happening, I think with some small structural changes, like you said, it feels like it could all slot in really nicely with the existing internet.Handling CAPTCHAs and Agent Authenticationswyx [00:28:08]: There's one more thing, which is the, your live view iframe, which lets you take, take control. Yeah. Obviously very key for operator now, but like, was, is there anything interesting technically there or that the people like, well, people always want this.Paul [00:28:21]: It was really hard to build, you know, like, so, okay. Headless browsers, you don't see them, right. They're running. They're running in a cloud somewhere. You can't like look at them. And I just want to really make, it's a weird name. I wish we came up with a better name for this thing, but you can't see them. Right. But customers don't trust AI agents, right. At least the first pass. So what we do with our live view is that, you know, when you use browser base, you can actually embed a live view of the browser running in the cloud for your customer to see it working. And that's what the first reason is the build trust, like, okay, so I have this script. That's going to go automate a website. I can embed it into my web application via an iframe and my customer can watch. I think. And then we added two way communication. So now not only can you watch the browser kind of being operated by AI, if you want to pause and actually click around type within this iframe that's controlling a browser, that's also possible. And this is all thanks to some of the lower level protocol, which is called the Chrome DevTools protocol. It has a API called start screencast, and you can also send mouse clicks and button clicks to a remote browser. And this is all embeddable within iframes. You have a browser within a browser, yo. And then you simulate the screen, the click on the other side. Exactly. And this is really nice often for, like, let's say, a capture that can't be solved. You saw this with Operator, you know, Operator actually uses a different approach. They use VNC. So, you know, you're able to see, like, you're seeing the whole window here. What we're doing is something a little lower level with the Chrome DevTools protocol. It's just PNGs being streamed over the wire. But the same thing is true, right? Like, hey, I'm running a window. Pause. Can you do something in this window? Human. Okay, great. Resume. Like sometimes 2FA tokens. Like if you get that text message, you might need a person to type that in. Web agents need human-in-the-loop type workflows still. You still need a person to interact with the browser. And building a UI to proxy that is kind of hard. You may as well just show them the whole browser and say, hey, can you finish this up for me? And then let the AI proceed on afterwards. Is there a future where I stream my current desktop to browser base? I don't think so. I think we're very much cloud infrastructure. Yeah. You know, but I think a lot of the stuff we're doing, we do want to, like, build tools. Like, you know, we'll talk about the stage and, you know, web agent framework in a second. But, like, there's a case where a lot of people are going desktop first for, you know, consumer use. And I think cloud is doing a lot of this, where I expect to see, you know, MCPs really oriented around the cloud desktop app for a reason, right? Like, I think a lot of these tools are going to run on your computer because it makes... I think it's breaking out. People are putting it on a server. Oh, really? Okay. Well, sweet. We'll see. We'll see that. I was surprised, though, wasn't I? I think that the browser company, too, with Dia Browser, it runs on your machine. You know, it's going to be...swyx [00:30:50]: What is it?Paul [00:30:51]: So, Dia Browser, as far as I understand... I used to use Arc. Yeah. I haven't used Arc. But I'm a big fan of the browser company. I think they're doing a lot of cool stuff in consumer. As far as I understand, it's a browser where you have a sidebar where you can, like, chat with it and it can control the local browser on your machine. So, if you imagine, like, what a consumer web agent is, which it lives alongside your browser, I think Google Chrome has Project Marina, I think. I almost call it Project Marinara for some reason. I don't know why. It's...swyx [00:31:17]: No, I think it's someone really likes the Waterworld. Oh, I see. The classic Kevin Costner. Yeah.Paul [00:31:22]: Okay. Project Marinara is a similar thing to the Dia Browser, in my mind, as far as I understand it. You have a browser that has an AI interface that will take over your mouse and keyboard and control the browser for you. Great for consumer use cases. But if you're building applications that rely on a browser and it's more part of a greater, like, AI app experience, you probably need something that's more like infrastructure, not a consumer app.swyx [00:31:44]: Just because I have explored a little bit in this area, do people want branching? So, I have the state. Of whatever my browser's in. And then I want, like, 100 clones of this state. Do people do that? Or...Paul [00:31:56]: People don't do it currently. Yeah. But it's definitely something we're thinking about. I think the idea of forking a browser is really cool. Technically, kind of hard. We're starting to see this in code execution, where people are, like, forking some, like, code execution, like, processes or forking some tool calls or branching tool calls. Haven't seen it at the browser level yet. But it makes sense. Like, if an AI agent is, like, using a website and it's not sure what path it wants to take to crawl this website. To find the information it's looking for. It would make sense for it to explore both paths in parallel. And that'd be a very, like... A road not taken. Yeah. And hopefully find the right answer. And then say, okay, this was actually the right one. And memorize that. And go there in the future. On the roadmap. For sure. Don't make my roadmap, please. You know?Alessio [00:32:37]: How do you actually do that? Yeah. How do you fork? I feel like the browser is so stateful for so many things.swyx [00:32:42]: Serialize the state. Restore the state. I don't know.Paul [00:32:44]: So, it's one of the reasons why we haven't done it yet. It's hard. You know? Like, to truly fork, it's actually quite difficult. The naive way is to open the same page in a new tab and then, like, hope that it's at the same thing. But if you have a form halfway filled, you may have to, like, take the whole, you know, container. Pause it. All the memory. Duplicate it. Restart it from there. It could be very slow. So, we haven't found a thing. Like, the easy thing to fork is just, like, copy the page object. You know? But I think there needs to be something a little bit more robust there. Yeah.swyx [00:33:12]: So, MorphLabs has this infinite branch thing. Like, wrote a custom fork of Linux or something that let them save the system state and clone it. MorphLabs, hit me up. I'll be a customer. Yeah. That's the only. I think that's the only way to do it. Yeah. Like, unless Chrome has some special API for you. Yeah.Paul [00:33:29]: There's probably something we'll reverse engineer one day. I don't know. Yeah.Alessio [00:33:32]: Let's talk about StageHand, the AI web browsing framework. You have three core components, Observe, Extract, and Act. Pretty clean landing page. What was the idea behind making a framework? Yeah.Stagehand: AI web browsing frameworkPaul [00:33:43]: So, there's three frameworks that are very popular or already exist, right? Puppeteer, Playwright, Selenium. Those are for building hard-coded scripts to control websites. And as soon as I started to play with LLMs plus browsing, I caught myself, you know, code-genning Playwright code to control a website. I would, like, take the DOM. I'd pass it to an LLM. I'd say, can you generate the Playwright code to click the appropriate button here? And it would do that. And I was like, this really should be part of the frameworks themselves. And I became really obsessed with SDKs that take natural language as part of, like, the API input. And that's what StageHand is. StageHand exposes three APIs, and it's a super set of Playwright. So, if you go to a page, you may want to take an action, click on the button, fill in the form, etc. That's what the act command is for. You may want to extract some data. This one takes a natural language, like, extract the winner of the Super Bowl from this page. You can give it a Zod schema, so it returns a structured output. And then maybe you're building an API. You can do an agent loop, and you want to kind of see what actions are possible on this page before taking one. You can do observe. So, you can observe the actions on the page, and it will generate a list of actions. You can guide it, like, give me actions on this page related to buying an item. And you can, like, buy it now, add to cart, view shipping options, and pass that to an LLM, an agent loop, to say, what's the appropriate action given this high-level goal? So, StageHand isn't a web agent. It's a framework for building web agents. And we think that agent loops are actually pretty close to the application layer because every application probably has different goals or different ways it wants to take steps. I don't think I've seen a generic. Maybe you guys are the experts here. I haven't seen, like, a really good AI agent framework here. Everyone kind of has their own special sauce, right? I see a lot of developers building their own agent loops, and they're using tools. And I view StageHand as the browser tool. So, we expose act, extract, observe. Your agent can call these tools. And from that, you don't have to worry about it. You don't have to worry about generating playwright code performantly. You don't have to worry about running it. You can kind of just integrate these three tool calls into your agent loop and reliably automate the web.swyx [00:35:48]: A special shout-out to Anirudh, who I met at your dinner, who I think listens to the pod. Yeah. Hey, Anirudh.Paul [00:35:54]: Anirudh's a man. He's a StageHand guy.swyx [00:35:56]: I mean, the interesting thing about each of these APIs is they're kind of each startup. Like, specifically extract, you know, Firecrawler is extract. There's, like, Expand AI. There's a whole bunch of, like, extract companies. They just focus on extract. I'm curious. Like, I feel like you guys are going to collide at some point. Like, right now, it's friendly. Everyone's in a blue ocean. At some point, it's going to be valuable enough that there's some turf battle here. I don't think you have a dog in a fight. I think you can mock extract to use an external service if they're better at it than you. But it's just an observation that, like, in the same way that I see each option, each checkbox in the side of custom GBTs becoming a startup or each box in the Karpathy chart being a startup. Like, this is also becoming a thing. Yeah.Paul [00:36:41]: I mean, like, so the way StageHand works is that it's MIT-licensed, completely open source. You bring your own API key to your LLM of choice. You could choose your LLM. We don't make any money off of the extract or really. We only really make money if you choose to run it with our browser. You don't have to. You can actually use your own browser, a local browser. You know, StageHand is completely open source for that reason. And, yeah, like, I think if you're building really complex web scraping workflows, I don't know if StageHand is the tool for you. I think it's really more if you're building an AI agent that needs a few general tools or if it's doing a lot of, like, web automation-intensive work. But if you're building a scraping company, StageHand is not your thing. You probably want something that's going to, like, get HTML content, you know, convert that to Markdown, query it. That's not what StageHand does. StageHand is more about reliability. I think we focus a lot on reliability and less so on cost optimization and speed at this point.swyx [00:37:33]: I actually feel like StageHand, so the way that StageHand works, it's like, you know, page.act, click on the quick start. Yeah. It's kind of the integration test for the code that you would have to write anyway, like the Puppeteer code that you have to write anyway. And when the page structure changes, because it always does, then this is still the test. This is still the test that I would have to write. Yeah. So it's kind of like a testing framework that doesn't need implementation detail.Paul [00:37:56]: Well, yeah. I mean, Puppeteer, Playwright, and Slenderman were all designed as testing frameworks, right? Yeah. And now people are, like, hacking them together to automate the web. I would say, and, like, maybe this is, like, me being too specific. But, like, when I write tests, if the page structure changes. Without me knowing, I want that test to fail. So I don't know if, like, AI, like, regenerating that. Like, people are using StageHand for testing. But it's more for, like, usability testing, not, like, testing of, like, does the front end, like, has it changed or not. Okay. But generally where we've seen people, like, really, like, take off is, like, if they're using, you know, something. If they want to build a feature in their application that's kind of like Operator or Deep Research, they're using StageHand to kind of power that tool calling in their own agent loop. Okay. Cool.swyx [00:38:37]: So let's go into Operator, the first big agent launch of the year from OpenAI. Seems like they have a whole bunch scheduled. You were on break and your phone blew up. What's your just general view of computer use agents is what they're calling it. The overall category before we go into Open Operator, just the overall promise of Operator. I will observe that I tried it once. It was okay. And I never tried it again.OpenAI's Operator and computer use agentsPaul [00:38:58]: That tracks with my experience, too. Like, I'm a huge fan of the OpenAI team. Like, I think that I do not view Operator as the company. I'm not a company killer for browser base at all. I think it actually shows people what's possible. I think, like, computer use models make a lot of sense. And I'm actually most excited about computer use models is, like, their ability to, like, really take screenshots and reasoning and output steps. I think that using mouse click or mouse coordinates, I've seen that proved to be less reliable than I would like. And I just wonder if that's the right form factor. What we've done with our framework is anchor it to the DOM itself, anchor it to the actual item. So, like, if it's clicking on something, it's clicking on that thing, you know? Like, it's more accurate. No matter where it is. Yeah, exactly. Because it really ties in nicely. And it can handle, like, the whole viewport in one go, whereas, like, Operator can only handle what it sees. Can you hover? Is hovering a thing that you can do? I don't know if we expose it as a tool directly, but I'm sure there's, like, an API for hovering. Like, move mouse to this position. Yeah, yeah, yeah. I think you can trigger hover, like, via, like, the JavaScript on the DOM itself. But, no, I think, like, when we saw computer use, everyone's eyes lit up because they realized, like, wow, like, AI is going to actually automate work for people. And I think seeing that kind of happen from both of the labs, and I'm sure we're going to see more labs launch computer use models, I'm excited to see all the stuff that people build with it. I think that I'd love to see computer use power, like, controlling a browser on browser base. And I think, like, Open Operator, which was, like, our open source version of OpenAI's Operator, was our first take on, like, how can we integrate these models into browser base? And we handle the infrastructure and let the labs do the models. I don't have a sense that Operator will be released as an API. I don't know. Maybe it will. I'm curious to see how well that works because I think it's going to be really hard for a company like OpenAI to do things like support CAPTCHA solving or, like, have proxies. Like, I think it's hard for them structurally. Imagine this New York Times headline, OpenAI CAPTCHA solving. Like, that would be a pretty bad headline, this New York Times headline. Browser base solves CAPTCHAs. No one cares. No one cares. And, like, our investors are bored. Like, we're all okay with this, you know? We're building this company knowing that the CAPTCHA solving is short-lived until we figure out how to authenticate good bots. I think it's really hard for a company like OpenAI, who has this brand that's so, so good, to balance with, like, the icky parts of web automation, which it can be kind of complex to solve. I'm sure OpenAI knows who to call whenever they need you. Yeah, right. I'm sure they'll have a great partnership.Alessio [00:41:23]: And is Open Operator just, like, a marketing thing for you? Like, how do you think about resource allocation? So, you can spin this up very quickly. And now there's all this, like, open deep research, just open all these things that people are building. We started it, you know. You're the original Open. We're the original Open operator, you know? Is it just, hey, look, this is a demo, but, like, we'll help you build out an actual product for yourself? Like, are you interested in going more of a product route? That's kind of the OpenAI way, right? They started as a model provider and then…Paul [00:41:53]: Yeah, we're not interested in going the product route yet. I view Open Operator as a model provider. It's a reference project, you know? Let's show people how to build these things using the infrastructure and models that are out there. And that's what it is. It's, like, Open Operator is very simple. It's an agent loop. It says, like, take a high-level goal, break it down into steps, use tool calling to accomplish those steps. It takes screenshots and feeds those screenshots into an LLM with the step to generate the right action. It uses stagehand under the hood to actually execute this action. It doesn't use a computer use model. And it, like, has a nice interface using the live view that we talked about, the iframe, to embed that into an application. So I felt like people on launch day wanted to figure out how to build their own version of this. And we turned that around really quickly to show them. And I hope we do that with other things like deep research. We don't have a deep research launch yet. I think David from AOMNI actually has an amazing open deep research that he launched. It has, like, 10K GitHub stars now. So he's crushing that. But I think if people want to build these features natively into their application, they need good reference projects. And I think Open Operator is a good example of that.swyx [00:42:52]: I don't know. Actually, I'm actually pretty bullish on API-driven operator. Because that's the only way that you can sort of, like, once it's reliable enough, obviously. And now we're nowhere near. But, like, give it five years. It'll happen, you know. And then you can sort of spin this up and browsers are working in the background and you don't necessarily have to know. And it just is booking restaurants for you, whatever. I can definitely see that future happening. I had this on the landing page here. This might be a slightly out of order. But, you know, you have, like, sort of three use cases for browser base. Open Operator. Or this is the operator sort of use case. It's kind of like the workflow automation use case. And it completes with UiPath in the sort of RPA category. Would you agree with that? Yeah, I would agree with that. And then there's Agents we talked about already. And web scraping, which I imagine would be the bulk of your workload right now, right?Paul [00:43:40]: No, not at all. I'd say actually, like, the majority is browser automation. We're kind of expensive for web scraping. Like, I think that if you're building a web scraping product, if you need to do occasional web scraping or you have to do web scraping that works every single time, you want to use browser automation. Yeah. You want to use browser-based. But if you're building web scraping workflows, what you should do is have a waterfall. You should have the first request is a curl to the website. See if you can get it without even using a browser. And then the second request may be, like, a scraping-specific API. There's, like, a thousand scraping APIs out there that you can use to try and get data. Scraping B. Scraping B is a great example, right? Yeah. And then, like, if those two don't work, bring out the heavy hitter. Like, browser-based will 100% work, right? It will load the page in a real browser, hydrate it. I see.swyx [00:44:21]: Because a lot of people don't render to JS.swyx [00:44:25]: Yeah, exactly.Paul [00:44:26]: So, I mean, the three big use cases, right? Like, you know, automation, web data collection, and then, you know, if you're building anything agentic that needs, like, a browser tool, you want to use browser-based.Alessio [00:44:35]: Is there any use case that, like, you were super surprised by that people might not even think about? Oh, yeah. Or is it, yeah, anything that you can share? The long tail is crazy. Yeah.Surprising use cases of BrowserbasePaul [00:44:44]: One of the case studies on our website that I think is the most interesting is this company called Benny. So, the way that it works is if you're on food stamps in the United States, you can actually get rebates if you buy certain things. Yeah. You buy some vegetables. You submit your receipt to the government. They'll give you a little rebate back. Say, hey, thanks for buying vegetables. It's good for you. That process of submitting that receipt is very painful. And the way Benny works is you use their app to take a photo of your receipt, and then Benny will go submit that receipt for you and then deposit the money into your account. That's actually using no AI at all. It's all, like, hard-coded scripts. They maintain the scripts. They've been doing a great job. And they build this amazing consumer app. But it's an example of, like, all these, like, tedious workflows that people have to do to kind of go about their business. And they're doing it for the sake of their day-to-day lives. And I had never known about, like, food stamp rebates or the complex forms you have to do to fill them. But the world is powered by millions and millions of tedious forms, visas. You know, Emirate Lighthouse is a customer, right? You know, they do the O1 visa. Millions and millions of forms are taking away humans' time. And I hope that Browserbase can help power software that automates away the web forms that we don't need anymore. Yeah.swyx [00:45:49]: I mean, I'm very supportive of that. I mean, forms. I do think, like, government itself is a big part of it. I think the government itself should embrace AI more to do more sort of human-friendly form filling. Mm-hmm. But I'm not optimistic. I'm not holding my breath. Yeah. We'll see. Okay. I think I'm about to zoom out. I have a little brief thing on computer use, and then we can talk about founder stuff, which is, I tend to think of developer tooling markets in impossible triangles, where everyone starts in a niche, and then they start to branch out. So I already hinted at a little bit of this, right? We mentioned more. We mentioned E2B. We mentioned Firecrawl. And then there's Browserbase. So there's, like, all this stuff of, like, have serverless virtual computer that you give to an agent and let them do stuff with it. And there's various ways of connecting it to the internet. You can just connect to a search API, like SERP API, whatever other, like, EXA is another one. That's what you're searching. You can also have a JSON markdown extractor, which is Firecrawl. Or you can have a virtual browser like Browserbase, or you can have a virtual machine like Morph. And then there's also maybe, like, a virtual sort of code environment, like Code Interpreter. So, like, there's just, like, a bunch of different ways to tackle the problem of give a computer to an agent. And I'm just kind of wondering if you see, like, everyone's just, like, happily coexisting in their respective niches. And as a developer, I just go and pick, like, a shopping basket of one of each. Or do you think that you eventually, people will collide?Future of browser automation and market competitionPaul [00:47:18]: I think that currently it's not a zero-sum market. Like, I think we're talking about... I think we're talking about all of knowledge work that people do that can be automated online. All of these, like, trillions of hours that happen online where people are working. And I think that there's so much software to be built that, like, I tend not to think about how these companies will collide. I just try to solve the problem as best as I can and make this specific piece of infrastructure, which I think is an important primitive, the best I possibly can. And yeah. I think there's players that are actually going to like it. I think there's players that are going to launch, like, over-the-top, you know, platforms, like agent platforms that have all these tools built in, right? Like, who's building the rippling for agent tools that has the search tool, the browser tool, the operating system tool, right? There are some. There are some. There are some, right? And I think in the end, what I have seen as my time as a developer, and I look at all the favorite tools that I have, is that, like, for tools and primitives with sufficient levels of complexity, you need to have a solution that's really bespoke to that primitive, you know? And I am sufficiently convinced that the browser is complex enough to deserve a primitive. Obviously, I have to. I'm the founder of BrowserBase, right? I'm talking my book. But, like, I think maybe I can give you one spicy take against, like, maybe just whole OS running. I think that when I look at computer use when it first came out, I saw that the majority of use cases for computer use were controlling a browser. And do we really need to run an entire operating system just to control a browser? I don't think so. I don't think that's necessary. You know, BrowserBase can run browsers for way cheaper than you can if you're running a full-fledged OS with a GUI, you know, operating system. And I think that's just an advantage of the browser. It is, like, browsers are little OSs, and you can run them very efficiently if you orchestrate it well. And I think that allows us to offer 90% of the, you know, functionality in the platform needed at 10% of the cost of running a full OS. Yeah.Open Operator: Browserbase's Open-Source Alternativeswyx [00:49:16]: I definitely see the logic in that. There's a Mark Andreessen quote. I don't know if you know this one. Where he basically observed that the browser is turning the operating system into a poorly debugged set of device drivers, because most of the apps are moved from the OS to the browser. So you can just run browsers.Paul [00:49:31]: There's a place for OSs, too. Like, I think that there are some applications that only run on Windows operating systems. And Eric from pig.dev in this upcoming YC batch, or last YC batch, like, he's building all run tons of Windows operating systems for you to control with your agent. And like, there's some legacy EHR systems that only run on Internet-controlled systems. Yeah.Paul [00:49:54]: I think that's it. I think, like, there are use cases for specific operating systems for specific legacy software. And like, I'm excited to see what he does with that. I just wanted to give a shout out to the pig.dev website.swyx [00:50:06]: The pigs jump when you click on them. Yeah. That's great.Paul [00:50:08]: Eric, he's the former co-founder of banana.dev, too.swyx [00:50:11]: Oh, that Eric. Yeah. That Eric. Okay. Well, he abandoned bananas for pigs. I hope he doesn't start going around with pigs now.Alessio [00:50:18]: Like he was going around with bananas. A little toy pig. Yeah. Yeah. I love that. What else are we missing? I think we covered a lot of, like, the browser-based product history, but. What do you wish people asked you? Yeah.Paul [00:50:29]: I wish people asked me more about, like, what will the future of software look like? Because I think that's really where I've spent a lot of time about why do browser-based. Like, for me, starting a company is like a means of last resort. Like, you shouldn't start a company unless you absolutely have to. And I remain convinced that the future of software is software that you're going to click a button and it's going to do stuff on your behalf. Right now, software. You click a button and it maybe, like, calls it back an API and, like, computes some numbers. It, like, modifies some text, whatever. But the future of software is software using software. So, I may log into my accounting website for my business, click a button, and it's going to go load up my Gmail, search my emails, find the thing, upload the receipt, and then comment it for me. Right? And it may use it using APIs, maybe a browser. I don't know. I think it's a little bit of both. But that's completely different from how we've built software so far. And that's. I think that future of software has different infrastructure requirements. It's going to require different UIs. It's going to require different pieces of infrastructure. I think the browser infrastructure is one piece that fits into that, along with all the other categories you mentioned. So, I think that it's going to require developers to think differently about how they've built software for, you know

We finally get to catch up with Mogan, fresh off a bunch of flights to all the recent tours and big festivals. Find out where he will be next: instagram.com/moganb Need a Stagehand, Stage Manager, Tour Manager, Guitar Tech, Video Wall, BBQ Delivery? He's your guy. +++++++++ my band: instagram.com/dogwoodpunk and NEW BAND MERCH STORE dogwoodpunk.com Get PODCAST MERCH here: yosh-shop.fourthwall.com More stuff coming soon, for now find me here: ⁠⁠⁠⁠⁠instagram.com/thefamilycast⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠linktr.ee/familycast ⁠⁠⁠⁠⁠ hire me to make music with you: https://featuredx.com/feature/josh-kemble/ or DM me!! I take venmo too: @joshuack  Check out buymeacoffee.com/punkchef ... IJS ... THANKS FOR LISTENING AS ALWAYS -- LOVE CHEF JOSH (YOSH) COFFEE/TEA: essexcoffeeroasters.com use code FAMCAST at checkout... BE SURE TO CHECK OUT THE  YOUTUBE CHANNEL (video clips of the interviews) Get some HYDRATION: shop liquiddeath.com and use code FAMCAST at checkout. Please leave a rating and review, wherever you listen.  Tremendous! . Stay up to date on music I'm making/have done: https://soundcloud.com/atwarwithin and SAINT DIDACUS: saintdidacus.bandcamp.com .. #chefjoshkemble #foodandmusicislifeyes #thepunkchefpodcast #thefamilycast #punkchefpairings #SRRSS share | rate | review | subscribe | support ====================

Join Aaron Levine from LG Insurance Agency as he chats with Josh Cittadino, attorney at Sanvenero & Cittadino. Discover Josh's unique journey from working as a stagehand to becoming a litigator. They delve into Josh's involvement in the cannabis industry, his approach to business growth, and the integration of technology in law. Gain valuable insights on entrepreneurship, legal challenges, and the importance of a strong network. Perfect for aspiring lawyers and business owners alike.

Episode 10: Art Trek What episode titles of Prodigy & Strange New World have literary references? Is the process of putting on a play essential to all living beings? Is there a reason for the ‘Shining' reference? The Louvre still exists in the 23rd century? Would Shakesphere approve of being discussed in Star Trek? Join Ashlyn and Rhianna as we discuss the art in Prodigy and Strange New Worlds. The Strange New World section begins at 36:27. SPOILER ALERT: Star Trek Prodigy seasons 1-2 & Strange New Worlds seasons 1-2. This is the tenth and final episode of our Art Trek series, where Ashlyn and Rhianna talk about the art aspects of every Star Trek show, starting with the Original Series and ending with Strange New Worlds. Next time, we'll be headed to a catch up series! DISCLAIMER: We do not own any of the rights to Star Trek or its affiliations. This content is for review only. Our intro and outro is by Jerry Goldsmith. Rule of Acquisition #109: “Dignity and an empty sack is worth the sack.” Please check out our Patreon and donate any $1, $6, $12, or $23 per month to access exclusive episodes of trivia, Galaxy Quest, and reviews of every episode of The Animated Series and our reviews of Lower Decks seasons 1-4! https://www.patreon.com/thedurassisterspodcast

Episode 106 - Kenny Barnwell - Touring The World and Making it all Work on the Road - Parenting Via FacetimeParenting while travelling the world seems almost impossible, Kenny takes us behind the curtain - get a v.i.p. backstage pass to life on the road and being a Dad, here on Dad Space.In Kenny's words: I like to say that the event business rescued me because before I started my event production career at 18 years old in Atlanta, GA as a Stagehand. I was a high school drop out, homeless, and strung out on drugs. Production work was medicinal for me in the early days.As a Stagehand, I wasn't sure what I wanted to do yet, so I worked my ass off in every area of production, from Audio, Lighting, to staging, and learned as much as I could.I then spent time bouncing around as a freelancer and stagehand doing gig after gig, honestly thinking my new career is turning into a J.O.B.Same stuff, different gig. I was working hard and doing the work I loved, but not in the capacity in which I wanted to. I wanted to go on tour, travel the world, and work directly WITH the tours, like the touring crew I've worked around while I've been a local crew hire.I felt like I had plenty of experience, just needed some direction, or know someone, or...? I just wasn't sure.One day I was working a gig as a Stagehand and a touring crew guy I was working with gave me a bit of coaching that changed everything for me.He gave me the bit of clarity I was looking for. That bit of advice and encouragement fueled a spark within me that set me on a path to finding my passion for Backline and Production Management.Since, I've built a 20+ year career working on tours in Backline, and as a Stage Manager, Production Manager, and Tour Manager on tour with artists such as Travis Tritt, Trace Adkins, Ariana Grande, Justin Bieber, Bon Jovi, Chris Isaak, Amos Lee, Sara Barellies, Seal, Stray Kids, Korn, Jonas Brothers, and more.I'm the co-founder of a concert promotions company in Tampa, the author of two career development books, creator of two online career courses, and I'm a career/life coach.https://www.crewcoach.co/___https://dadspace.ca/

Mike, Kody, Christian, and Gareth have been squashing lots of bugs over the last month and have lots to say about them. In the midst of bug squashing Gareth also built a 6-axis show and Kody designed a new Stagehand.

Davey Rogulich is a Stagehand and Maker from Albuquerque, NM. He has toured internationally with Tricklock Theater Company and throughout the US with “Blue Man Group” and “Cathy Rigby is Peter Pan!”. He is currently the Technical Director of NDI New Mexico at The Hiland Theater in Albuquerque and the owner of Davey Craft & Tools. His hobbies include woodworking, leather working, aircraft restoration, collecting tools, and caring for orchids in his greenhouse. You can find Davey on Instagram @daveycraftandtools.   TOOLS: 0:00 - Intro 1:03 - Knipex 12 62 180, Self Adjusting Wire Stripper: https://www.kctool.com/knipex-automatic-wire-insulation-stripper-awg-24-10/ 8:47 - Snap-On TMS4E 1/4" drive Speeder: https://shop.snapon.com/product/Speeders%2C-Chrome-(1-4%22)/1-4%22-Drive-16%22-Speeder-Drive-Handle/TMS4E 17:49 - Titanium AAA Flashlight by Maratac REV 5: https://countycomm.com/collections/aaa-flashlights/products/polished-titanium-maratac-aaa-flashlight-rev-4 25:21 - Volty Switch Keychain Multimeter: https://pcpoodle.com/products/volty-switch-keychain-multimeter-leatherman-compatible   Watch on YouTube: https://youtu.be/r9C9Y0rKD1c   For show notes and transcript visit: https://kk.org/cooltools/davey-rogulich-stagehand-and-maker/   To sign up to be a guest on the show, please fill out this form: https://forms.gle/qc496XB6bGbrAEKK7

On the program this week Jason Adams from the Airhead Rallye Team. Those of you on ADV-Rider are familiar with Jason under the Stagehand moniker—those of you who are not—Jason has a fascinating story about how he came into rallye racing airheads and all the adventures that go along with it. Drop us a line at airheads247@hotmail.com Support the Airhead 247 Podcast by becoming a member of the BMW MOA—it's FREE. Follow this link 247.bmwmoa.org and use the code airheads247 to register for a FREE one year digital membership. It's a quick and easy process and a simple way to support this program.

Mike, Kody, and Christian chat through how Spikemark and the Stagehand convert the encoder feedback into usable distances and then how the Stagehand remembers that position. They also explore how target tolerance, max position error, and position lag time all play a role in motion.

 In this episode of The Biz Dojo podcast, hosts Seth, JP, and Sean chat with Derek Manns, the founder and CEO of Stagehand right here in #YYC!Derek shares his journey of starting and growing his business, providing valuable insights and tips on how to succeed in the ever-evolving world of digital entrepreneurship. The conversation also touches on the exciting developments happening in Calgary's music scene, Calgary's Music Mile, and other projects that aim to showcase the city's vibrant music culture.Join us as we learn from Derek's entrepreneurial journey, get inspired by his passion for both business and music, and have a few laughs along the way.And don't forget to check out our Spotify playlist "The Guestlist" to listen to the songs shared by our guests (and hosts) as top-shelf ear candy. This week, we've added some local flair!

Mickey grew up in the temporary crew business through his family, and just recently started his own company, Gig Life. He talks about a lot of the challenges and opportunities in the crew business currently. Hope you enjoy. Brought to you by ACT Entertainment. 

On his private space station high above Earth, Professor Burkhead has begun conducting a ground-breaking social experiment. Each week, his “Unifier” pairs together two unlikely creatures and puts them in a room together where the two subjects (an accountant and a giant squid, one week; a porcupine and a ballerina the next, etc) talk, debate, get to know each other, and maybe learn something new about themselves in the process.For more great podcasts, visit https://gzmshows.com/See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Kody and Christian dive deep on some exciting Spotline and Stagehand developments while Mike recounts some of the big tech support woes from last month.

Someone Dies In This Elevator - Rise Rating: PG-13. Smile, you're on camera. This episode contains the sound of a gunshot at the end of the episode, discussion of systemic inequality, and death in an elevator. Transcript here. The trailer at the end of this episode is for The Children of Room 56. In Spiritsford, The lakes have teeth. The walls have eyes. There's a hotel for ghosts in the woods. Sam Moss and her tight-knit group of friends have been investigating the mysteries of Spiritsford since they were children, and they enjoy it... until one of their own goes missing. Chip Romero has disappeared. And Sam is determined to find him. But the supernatural creatures of the town are getting increasingly malicious, and Sam's chances of actually finding her friend seem near-impossible. This episode was written by ItMe! and directed by Mik Koats. Script editing by Jesse Schuschu. Dialogue editing by Sierra Doss and sound design by Kathryn Stanley. Music by Ali Hylton. Executive produced by Tal Minear. Episode artwork by Tal Minear. Starring: Anthony Kluttz as Corey. Giancarlo Herrera as Jordan. Cass McPhee as Stagehand. Angel Haven Rey as Game Show Host. Follow us @SDITEpod on Instagram, Tumblr, & Twitter! Learn more about your ad choices. Visit megaphone.fm/adchoices

“Great—now the shrooms are kicking in” I had forgotten that I had taken them— and it had hardly been in a memorable amount so that I didn't expect them at all to do anything; I had found them cleaning Brandon's room in an opening behind the fridge—it was at best, a gram, a couple caps and some stems, the powder debris from what may have once been a mentionable amount—but still, having now fasted for the better part of nearly two weeks, and distraught upon returning back to of course, puddle of dog piss and a sink full of dishes that had not been touched in over a week, and were now rotting— But now, here I was, within a proper earshot of John Legend belting out a song that had been implanted into the back of my skull by the mainstream media—almost unaffected by anything hit the stark confusion of l my second night working as a stagehand for Desert Labor, I didn't quite feel out of place or entirely too high, actually—just chilled enough to relax, not entirely out of body but at least out of mind enough to not be mad that I wasn't the one on stage. “At least i'm here.” It felt good to be in all black, for at least a moment, before a handsome bearded man—the “lead”, whose name I had already forgotten, handed me a shirt in my favorite color blue. “Can I keep this?”, I asked—excited to have scored a other mmm sleep shirt, probably an XL or larger that would have fit me snugly not too long ago. (I fucking love free shirts.) My heart was racing—there were beautiful men everywhere—just the kind I liked, all sleek and dressed in black, some of them greying in a silver fox which I had started to dream of…

In this monumental 200th episode of Today's Boondoggle, Bill talks with Master Chief Petty Officer Pat Otis. We talk about his wilder days following the Grateful Dead, living with college women, and getting into all kinds of trouble that ultimately led to the old "It's either Jail or the Military" call, rising up the ranks of the Navy, the drinking culture and other Navy experiences, and what duty was like at GITMO. We also talk about our connection to Assault Craft Units, Leadership advice he received from the coach of the San Diego Chargers, Okinawa, ripping into the cast of the TV show The Last Ship for their UNSAT uniforms, and finally about the SKILLBRIDGE program helping transitioning military veterans into civilian careers, working for Danny Wimmer Presents and the amazing fun and professional atmosphere that he's experienced there, plus so much more. Today's Boondoggle fans can receive 10% off their orders at dreemnutrition.com by using the promo code BOONDOG10 at checkout. So kick back with your headphones and cold one for this latest episode. Enjoy our additional segments featuring music from the Flo White Show and Stories from the VFW Hall. Remember Boondoggle Listeners Matter, so e-mail us at todaysboondoggle@gmail.com and let us know your thoughts so we can read them on air. Tweet us @2daysBoondoggle and Follow us on Instagram @todaysboondoggle as well as on Facebook. Please subscribe and give 5 stars and review. Every review we receive on either Apple Podcast or Google Music we will mention you on a future episode and our Social Media pages. Follow Today's Boondoggle also on our Social Media as well as DomainCle.com and on Anchor.fm Today's Boondoggle logo designed by Stacy Candow. Additional music by Evan Crouse Also please consider financially supporting us at Todays Boondoggle using Venmo, our GoFundMe, or sponsoring us on our Anchor.fm page, so we can continue to provide you with quality entertainment. --- Send in a voice message: https://anchor.fm/todaysboondoggle/message Support this podcast: https://anchor.fm/todaysboondoggle/support

Of all the things in the world that made me move out of whatever stale and delapidated state I might have been in before that moment, it wasn't anything besides the fact, pure and simple, that everything in Dillon Francis's merch was $1, and i didn't have a debit card to buy the vinyl that had been in my wishlist since before last Christmas; after all, I really was a fan—I didn't want a T-shirt or a water bottle that might have let anyone else know it, but I wanted that album, and I wanted it bad. After a fit of rage, which broke the silence of the morning at all, even after a somewhat decent meditation, I kicked my feet over the side of the bed, grunting with frustration. “That's it”, I yelled. “I'm going to LA.” After much speculation, I had decided it would be a miraculously indecent idea to do so without a good job—even now that I had secured two part time jobs that almost didn't make any sense without a vehicle, but still, after actually trying my best against my will to try to wring whatever dollars and cents I could out of Eōs, it simply wasn't working; being unable for the most part to function even semi-independently became impossible without a debit card, and for some reason, as I was actually getting used to, Dillon Francis was the icing on the cake, or the nail in the coffin, whichever way I wanted to look at it—I wanted that album, and by the time I would have a debit card in my possession, the sale would be over—but at least my life would fall back into place as normally as possible, so that I could l be some kind of human again, or something like it. I took strides to push the actual Dillon Francis far from my mind, putting in between us every Kayla Lauren, every Becky, and every Karen in existence. By the way of the world, or new world order—I knew my affinity alone would attract women to him seemingly out of nowhere, but lottery only existed as the antagonist to my feelings for him, or anybody I liked for that matter. Evil white women stole everything; that was the only way they knew how to function—to take, take, take. And so, now, in my mind, Dillon Francis was just as much taken and conquered as any other part of the world I might as once hoped at mine, but now had conceded—I was better off alone, or with an invisible piñata, anyway. {Enter The Multiverse}

{Enter The Multiverse} Of all the things in the world that made me move out of whatever stale and delapidated state I might have been in before that moment, it wasn't anything besides the fact, pure and simple, that everything in Dillon Francis's merch was $1, and i didn't have a debit card to buy the vinyl that had been in my wishlist since before last Christmas; after all, I really was a fan—I didn't want a T-shirt or a water bottle that might have let anyone else know it, but I wanted that album, and I wanted it bad. After a fit of rage, which broke the silence of the morning at all, even after a somewhat decent meditation, I kicked my feet over the side of the bed, grunting with frustration. “That's it”, I yelled. “I'm going to LA.” After much speculation, I had decided it would be a miraculously indecent idea to do so without a good job—even now that I had secured two part time jobs that almost didn't make any sense without a vehicle, but still, after actually trying my best against my will to try to wring whatever dollars and cents I could out of Eōs, it simply wasn't working; being unable for the most part to function even semi-independently became impossible without a debit card, and for some reason, as I was actually getting used to, Dillon Francis was the icing on the cake, or the nail in the coffin, whichever way I wanted to look at it—I wanted that album, and by the time I would have a debit card in my possession, the sale would be over—but at least my life would fall back into place as normally as possible, so that I could l be some kind of human again, or something like it.

“Great—now the shrooms are kicking in” I had forgotten that I had taken them— and it had hardly been in a memorable amount so that I didn't expect them at all to do anything; I had found them cleaning Brandon's room in an opening behind the fridge—it was at best, a gram, a couple caps and some stems, the powder debris from what may have once been a mentionable amount—but still, having now fasted for the better part of nearly two weeks, and distraught upon returning back to of course, puddle of dog piss and a sink full of dishes that had not been touched in over a week, and were now rotting— But now, here I was, within a proper earshot of John Legend belting out a song that had been implanted into the back of my skull by the mainstream media—almost unaffected by anything hit the stark confusion of l my second night working as a stagehand for Desert Labor, I didn't quite feel out of place or entirely too high, actually—just chilled enough to relax, not entirely out of body but at least out of mind enough to not be mad that I wasn't the one on stage. “At least i'm here.” It felt good to be in all black, for at least a moment, before a handsome bearded man—the “lead”, whose name I had already forgotten, handed me a shirt in my favorite color blue. “Can I keep this?”, I asked—excited to have scored a other mmm sleep shirt, probably an XL or larger that would have fit me snugly not too long ago. (I fucking love free shirts.) My heart was racing—there were beautiful men everywhere—just the kind I liked, all sleek and dressed in black, some of them greying in a silver fox which I had started to dream of… {Enter The Multiverse}

Kody, Mike, Harry, and Christian talk about some new Spikemark UI updates coming soon, check in on how the development of Stagehand vNext is coming along, and talk through some troubleshooting pro tips learned this month from tech support.

Michael Bua is a highly experienced union stagehand; “Carp-trician,” having over “25 years of stage experience” with wide ranging equipment expertise!  He is a member of International Alliance of Theatrical Stagehand Employees (I.A.T.S.E.) LOCAL ONE - Member #3050.  Michael's talents include construct, install, maintain and operate the lighting and sound equipment, the scenery, props and special effects which thrill and delight audiences attending Broadway Shows, Concerts at Radio City Music Hall, Madison Square Garden, Carnegie Hall, the magnificent and spectacular productions at The Metropolitan Opera and throughout Lincoln Center, and the many entertaining broadcasts from NBC, CBS, ABC, FOX, CNN and PBS.  Plus numerous cable TV studios, major corporate industrials, galas, fashion shows, fundraisers and special events for a multitude of Entertainment Productions in New York City.He has been a Production Carpenter, Staging Assistant, Electrician and Studio Mechanic, Set-Dresser, Prop-maker, “MacGyver”, Light Board Operator, Moving Light Programmer, Follow Spot Operator, as well as Grip, FX, handled Live Props, Set-Dressing, and Property Assistant.His amazing resume includes these works: “The Book of Mormon” (2009-2015), “Lysistrata Jones”, “The House of Blue Leaves”“HAIR”,  “Elf”,  “How to Succeed in Business Without Really Trying”, “The Bronx Bombers” , “Annie”,  “Holler If Ya Hear Me”,  “RENT”, “The Addams Family”, “Hugh Jackman, Back on Broadway”,  “700 Sundays”,  “Rebecca”, “End of the Rainbow”, “Golden Boy”, “The Lion King” And more! The Metropolitan Opera – Lincoln Center, New York  -  (2004 – 2011)Night Gang, Service Crew, Property Department, Lighting Crew and Electrics Shop.Midsummer Night Swing, Lincoln Center Outdoor and Red Carpets.Theatrical Resources  (2007 – present) The Nightly Show with Larry Wilmore,  NBC's New Year's Eve with Carson Daly,  ABC's Dick Clark's Rockin Eve with Ryan Seacrest,  Radio City's Christmas Spectacular Rehearsals at St. Paul's Cathedral,  Rockefeller Center Tree Lighting, NBC & CBS Thanksgiving Day Parade,  America's Got Talent NYC and Las Vegas,  “Women in the World” at The Koch Theatre,  VH1-You Oughta Know Live in Concert,  The Million Second Quiz,  Time Warner Cable Studios Gala,  Hulu,  The US Open, Mercedes Benz Fashion Week,  American Comedy Awards NYC,  Versus Versace Fashion Show, Giorgio Armani Fashion,  TBS/TNT Upfronts,  G-Shock Production Gala,  JC Penny Jingle Mingle LIVE, Victoria's Secret Fashion Shows,  USA Upfronts,  Tommy Hilfiger Fashion Show,  Chanel Gala,Marc Jacobs Fashion Show,  LOGO TV Trailblazers – St. John's Cathedral,  Black Girls Rock – BET Network, VH1 – Storytellers – Jason Mraz,  LEGO,  Minds and Machines,  NIKE GALA; NIKE PHENOM, NIKE COURT,  Nokia Project Blue Box Times Square – Nicki Minaj,  Robinhood Foundation Galas; Javitz Center and Central Park – Black Eyed Peas,  The Bloomberg Party and The Governor's Ball – Randall's Island,  Bon Jovi Live at The Best Buy Theatre, The Grammy's at Madison Square Garden, The Little Shubert Theatre: Tommy Tunes, Hank Williams.NBC Universal – 30 Rockefeller Center Plaza, New York – (1999 - 2009)The Today Show, Weekend Today, The Toyota Concert Series-Dynamic, demanding, high-pressured, 4 hour constrained live television production.-Construction of different stagings and lighting truss configurations.-Installed, operated and maintained a wide variety of electronic peripherals during training, rehearsal and performance concerts.Saturday Night Live, Conan O'Brien, The Carson Daly Show, Countdown with Keith Olbermann, Dateline, NBC Sports, MSNBC and Nightly News.- SNL, The Today Show and Conan O'Brien Prop Department experience.- Obsession Operator, Remote Electrician, Spot Operator and Assistant Lighting DesignerABC Disney – Times Square Studios & 77 West 66th Street, New York – (2006 – present) Regis and Kelly, The View, Eyewitness News, All My Children, One Life to Live, Who Wants to Be a Millionaire.- Carpenter, Prop-man, Electrician, Stagehand.CBS Viacom – 524 West 57th Street, New York – (2006 – present)Evening News with Katie Couric, BET, Guiding Light, Nate Berkus, The Marriage Ref.- Carpenter, Prop-man, Electrician, Stagehand. AMV – All-Mobile-Video – Chelsea Studios - (2006 – present)Martha Stewart, The Whatever Show, Rachael Ray, Wendy Williams, Tyra Banks, Project Runway, The Talk, The Iron Chef, The Food Network, HBO, MTV, VH1, The Discovery Channel, Bravo, A&E, and SciFi…Citi-View Productions – The Rainbow Room – Cipriani's  - (2000 – 2006)- Lighting Designer and technician for multiple galas.IATSE Local 340 – Long Island, New York – (1998 – present)Nassau Coliseum, Jones Beach Theatre, Grumman Studios, CW Post Tilles Center, Hofstra U.Gateway Playhouse, GSD Productions, Bestek Lighting,  Electrician, Ground Rigger, Backline and Technician in a multitude of large-scale theatrical, concert event and touring productions.IATSE Local 4 – Brooklyn Navy Yard, New York Stiegelbauer Carpentry Shop – (1998 – 2004)- Learned valuable carpentry skills building sets for SNL, Guiding Light, and As the World Turns.LOCAL 52 – Experience – Motion Picture Studio Mechanics – (1998 – present)Silvercup Studios, Kaufman Astoria Studios, Paramount Studios and Steiner Studios.Boardwalk Empire, Gossip Girl, Law & Order SVU, Salt, Sex and the City I & II, A Couple of Dicks (Copout), Project Runway, Spiderman, The Sopranos, Non-Stop, The Following.Performance Environment Design Group (PEDG) – David Stark Design - (2006- 2012)Robinhood Foundation Gala – The Jacob Javitz Center, New York- Project Manager, Production Assistant, Lighting Coordinator, Stagehand.Oceanside Public School District – Oceanside, New York – (1998 – 2009)Drama Director and teacher for the Drama Department producing a musical every year with a cast of over 60 children.  Auditioned, cast, and directed children, blocked and facilitated rehearsals, choreographed, taught songs, Designed and constructed scenery, costumes, props and special effects for Beauty and the Beast, Alice in Wonderland, The Wizard of Oz, The Lion King, The Little Mermaid, Willy Wonka and the Chocolate Factory, Cinderella, Aladdin, Annie, and Snow White and the Seven Dwarfs.The Stage – Long Island Live Theatre – Merrick, New York – (1994 – 2000)Producer, Box Office Manager, Actor, Director, Designer, Stagehand, Scenic Artist.- Supervised and Managed all ticket sales, advertisements, and bookkeeping.  Produced and performed in The 30th Anniversary of the production HAIR.  Responsibilities also included Technical Direction and Set Design, along with Directing Children's Theatre and performing with them on main stage productions.

Everyone welcome one of the most enthusiastic people we've had on the bus, Kenny Barnwell! Over the past 20 years, Kenny has worked his way up from a local stagehand to touring with Bon Jovi, Justin Bieber, and Ariana Grande. Kenny also is the co-founder of Freedom Music events, an author, and teaches online courses for crew careers. Let's get ready for this week's episode of Don't Shit on the Bus! In this episode of the Don't Shit On The Bus podcast we will learn: • What someone can do to level up as a stagehand • How Kenny went from living in his car to touring with A-list artist • The value of working for free at the beginning in the music industry • What Kenny believes people on the road now can do to help out new stagehands (00:00) Intro (03:05) Patreon (03:59) Kenny gets on the bus (06:12) How Kenny got started in the music industry (17:04) Working for free (19:31) How stagehands are hired on (21:14) How Kenny transitioned into touring (27:38) What is a stagehand (33:12) It's all about who knows you (35:10) Missteps when reaching out to someone (40:24) Can you be a good hang on tour (43:38) Being a stagehand is like paid training (48:07) First steps to being hired as a local stagehand (55:22) Leveling up from a stagehand (01:05:37) What people on the road can do now to help new stage hands out (01:11:00) Wrap up notes --- Kenny Barnwell - Guest ► Instagram: https://www.instagram.com/thekennybarnwell ► Facebook: https://www.facebook.com/kennybarnwell ► Crew Coach: https://freedommusicevents.com/crew-coach ► Back Stage Crew Careers: https://www.instagram.com/backstagecrewcareers --- Don't Shit On The Bus Podcast ► Website: http://www.dontshitonthebus.com ► Spotify: http://bit.ly/DSotBspotify ► Apple Podcasts: http://bit.ly/DSotBapple ► TikTok: https://tiktok.com/@dontshitonthebus ► Twitter: https://twitter.com/DSotBpodcast ► Instagram: https://instagram.com/DSotBpodcast ► Facebook: https://facebook.com/DSotBpodcast ► Patreon: https://patreon.com/DSotB --- Adam Elmakias - Host ► Twitter: https://twitter.com/elmakias ► Instagram: https://www.instagram.com/elmakias ► Website: https://www.adamelmakias.com --- Edited & Produced by Connor Gaskey

Gerald und Manuel sprechen über das Dark Troll Festival 2022. Gerald hat die Band Uprising als Labelchef begleitet, Manuel war, wie bereits viele Jahre zuvor, als Crewmitglied dort, u.a. als Stagehand, Bandbetreuer und Fahrer. Über die Erfahrungen und warum Sülze ein wichtiger Bestandteil des letzten Festivals war, unterhalten sich die beiden. Welche Bands überzeugen konnten und entsprechende Musik darf dann natürlich auch nicht fehlen.

The team is talking about the new patch, and the rough impressions of the new meta. https://masteringruneterra.com/ TimeStamp 0:00 Introductions 2:00 Everything is good...? But is good enough 2:15 Winding Light is pretty much a champion 5:50 The meta isn't slowing down, Tentacles are fast and strong 8:30 Bard Suspicious for power level 10:20 A LOT of the new stuff will only get stronger with refinement 14:50 Will the new stuff stand up to The Meta? 17:00 Stagehand too strong? 19:20 Lee Sin's Return due to Tellstones 21:10 Deep is a real deck and Thralls is back in force 23:30 "All Ionia decks will play Three Tellstones" - Whatami 25:30 The misses from last set & People's misses on card evaluation 26:35 Fun decks as of Day 1 28:00 Early meta events 31:00 Lineup and Aegis League talk 35:40 Seasonals Change 39:55 Petition Proposition & Shifts in 42:30 Nerf Discussion; Riot's balancing after the fact again 46:00 Balancing and the necessity of power creep Patreon Team: https://www.patreon.com/MasteringRuneterra Join Discord! https://discord.gg/TqnntWF728 Podcast: https://podcasts.apple.com/ca/podcast/mastering-runeterra/id1556960343 https://open.spotify.com/show/49xjHNbzVwG9ZEurUQH8Qn Twitter: https://twitter.com/MasterRuneterra Bae's Socials: https://www.youtube.com/channel/UCPWvMRZq__Q-LaCNui9budg Twitch.tv/majiinbaelor https://twitter.com/MajiinBaeLor Jae's Socials: https://www.youtube.com/channel/UCpsFhsgLk7YwxdweckTZx1g https://www.twitch.tv/jasonfleurant​​​​​ https://twitter.com/JasonFleurant Aikado's Socials: https://www.youtube.com/channel/UCfXV-V3OyHymQjkKtd7CjsQ https://www.twitch.tv/xaikado https://twitter.com/AikadoLoR Kevor's Socials: https://www.twitch.tv/Kevor24 https://twitter.com/KevinAnctil Whatami's Socials: https://www.twitch.tv/xxwhatamixx https://twitter.com/XxWhatAmIxX Henneky's Socials: https://www.twitch.tv/henneky https://twitter.com/Henneky1 Jasensational's Socials: https://www.youtube.com/c/Jasensational https://www.twitch.tv/ja3en3ational https://twitter.com/jasensational zTurtlee's Social: https://twitter.com/zTurtlee #LegendsofRuneterra #LoR #PlayRuneterra #LoRPodcast #Meta

Professional Stagehand: Wayne is the embodiment of what it means to be a hard worker. He picked up a wrench at a very young age and he's been a valued asset every day since. With his work on Movies, Network Television, Stage Theatre, and Outdoor Choreography, there isn't much he hasn't done. Stage Door on Facebook www.facebook.com/profile.php?id=100071808249771 Stage Door on Instagram www.instagram.com/stagedoorpodcast/?hl=en Grip at White Noise (movie) October 27, 2021 - Present Operated 135' condor lift with movie lighting on location for the filming of the motion picture "White Noise", staring Don Cheadle, Greta Gerwig, and Adam Driver. Release to be fall of 2022. Former Head Video - Peristyle Theatre at The Toledo Museum of Art January 1, 2019 - Present·Toledo, Ohio Utilities/Camera Grip for ESPN and CBS Sports August 23, 2017 - Present Assists camera operators during live sports tv broadcasts. Current Recording Secretary of IATSE Local #24 at IATSE October 11, 2016 - Present·Toledo, Ohio Into my second three-year term as a Member of Local #24s Executive Board, serving as the Membership's Recording Secretary. Works at I.A.T.S.E. Local 24 Toledo Stagehands September 10, 2011 - Present I've been an IATSE member since 1995, transferring from local #251 (Madison, WI) to Toledo in 2011. Former Entertainment Production Manager at Royal Caribbean Cruises August 2006 - September 2011 Served as EPM on eight ships over five years. Former Production Manager: "A Funny Thing/Forum" starring Eddie Mekka May 1999 - September 1999 Former Production Manager: "Mame" starring Loretta Switt May 1999 - September 1999 Former Prod. Mgr and Flyman - "The Goodbye Girl" national tour. September 1998 - April 1999 Former Former Production Manager at New York Renaissance Faire April 1997 - August 1997·Tuxedo Park, New York With about four weeks to go in the season I was fired. But they hadn't hired anyone to replace me. After a few days they called me back, and asked if I'd finish out the season. "Not on what you were paying me" was my response. I finished out the season with a $200.00 per week raise

DONDOBEE: OR THE ADVENTURES OF A LEOLIAN ELF by Dale ParryThe Adventures of a Leolian Elf is a simple tale of a faithful elf who is imprisoned for his ugliness. In a time long ago a young urchin boy named Coal, creates a musical instrument that charms the creatures of the wood including 2 Leolian elves, Shreebee and Rodo. A pact is made between the boy and the elves. The elves will serve Coal until the end of his days if they are allowed to play the magical instrument. Coal agrees and the elves create a magnificent castle for all to live in. Dondobee is born soon after. He quickly learns to play the instrument. It is magical in his hands. He plays at every full moon. As he plays, tiny beings of light go about doing Williamsgate Castle chores. They clean and stock the castle with supplies to keep for a month or until the next full moon. Coal meets and marries Queen Maudrina. They all live happily ever after. One day Coal doesn't wake up. Shreebee and Rodo ceremonially send him up the chimney in a puff of smoke. With their pact with Coal finished, they too decide to go up the chimney. However, Dondobee chooses to stay behind to care for the aging Queen Maudrina. Then one day, the Queen asks Dondobee to grant her one final wish. The Queen has left the castle to her nephew Prince Paul and his princess Panella, of Bethgate Castle. Dondobee agrees to stay and maintain it for them, on the condition that they can solve a riddle. The royal couple is informed of their inheritance. They successfully solve the riddle with the help of the sensemaker and they take residence in Williamsgate Castle. They live long and happily in the magical castle until one bright full moon night, the sleep walking Panella sees an ugly creature roaming the castle. She convinces Prince Paul to capture it. The prince devises a clever trap, and Dondobee is captured and thrown into the dungeon. Soon the castle is no longer warm and full of bright light and happiness. No chores are being done. It grows cold and dark. The confused couple can't understand what is wrong. They go to bed and fall asleep for 14- and one-half years. They do live happily ever after. For how they manage to do that, you will have to read the story of DONDOBEE and go along with him on his adventures. Dale is a long time veteran of theater. He has stomped the boards from Boston to Hollywood and New York City and in between. He was a member of the Roundabout Theater Ensemble in New York City where he acted and directed. He has toured with theater groups and performed in summer stock, regional, and educational theater. He chaired the drama department of Proctor Academy prep school in New Hampshire and was assistant chair of the Vermont Junior College drama department. He has studied classical theater in London and Dublin and at the Institute for Advanced Studies in Theater Arts in New York City. He studied speech and drama at the University of New Hampshire where he graduated cum laude. While there, he won the Best Actor award. Mr.Parry also received an MA in theater arts from UNLV, graduating with honors. (Notice Cuts here.) He is a member of Sag-Aftra, Actor's Equity and The 1 Stagehand's Union. He has always enjoyed entertaining children and in fact toured with a theater group out of Boston that performed literary classics, like Edgar Allan Poe's works, for school kids. https://www.amazon.com/Dondobee-Dale-Parry-ebook/dp/B089N8DM2P/ref=sr_1_1?keywords=dondobee&qid=1637694056&qsid=137-6510654-1591924&s=books&sr=1-1&sres=1410745848https://www.mrdale.com/http://www.LitPrime.comhttp://www.bluefunkbroadcasting.com/root/twia/31622lp.mp3  

Today we are joined by Myles Fishel, a stage hand over in the states to discuss the life of a stagehand, the crazy stories of being backstage, working with the biggest artists and much more! Myles made his name through his TikTok which can be found here > https://www.tiktok.com/@pinebox88/video/7070896597160316206?is_from_webapp=1&sender_device=pc&web_id7064665649847911941 The Talk Tonight Podcast - speaking to the biggest and brightest upcoming artists, about the greatest bands of all time and speaking about music news! ____________________________________________________________________ Spotify - https://open.spotify.com/show/6Xto9VB... ____________________________________________________________________ Apple Podcasts - https://podcasts.apple.com/gb/podcast... ____________________________________________________________________

This is your WORT Local News for Tuesday, February 22, 2022. On todays show, a bevy of Republican election bills get fast-tracked in the statehouse, a local theater union has supported backstage workers through the pandemic, a major new development on State Street raises hackles, and in the second half, we learn the latest from the U-W campus, investigate how extreme weather affects wildlife and explore what light can reveal about stars.

Complaints, we have a few.We talk about iCloud problems including an outage for developers a few weeks ago.Moltz tried Chrome Flex.We reminisce about The Incident and Stagehand.iOS 15.4 has a new Siri voice and anti-stalking features for AirTags.Bowdoin College is giving students some nice kit.Our thanks to New Relic. Doordash, Github, Epic Games, and more than fourteen thousand other companies use New Relic to debug and improve their software. Get access to the whole New Relic platform and 100GB of data free, forever – no credit card required. Sign up at newrelic.com/rebound.Our thanks to Indochino, where you'll find the best made to measure shirts and suits at a great price. Use the promo code "REBOUND" and get $50 off any purchase of $399 or more.If you want to help out the show and get some great bonus content, consider becoming a Rebound Prime member! Just go to prime.reboundcast.com to check it out!You can now also support the show by buying our NEW shirt featuring our catchphrase, TECHNOLOGY! Are we right?! (Prime members, check your email for a special deal on the shirt.)

Ty Waters was born in California and has moved all his life. Grew up in theatre and has been sharing his experience as wide as he can as he works freelance in almost every backstage area.

Alana Jacoby! Musical theater writer! Playwright! Lighting designer! Stagehand! Chess tutor! Curler! Sorter of things into rainbow order! Dear old summer camp friend! Delight! (Delighting designer?) Here is her musical "when we're gone" on her collaborator Scotty's website and Here is her musical "trivøya gold" on Scotty's website! Enjoy!

The guys wrap up 2021 with a discussion of lifting safely with Stagehand control, a recap of LDI 2021, Kody's camera quest, and gear for next year. • Lifting safely with Stagehand control • LDI recap • Kody's camera quest continues • Black Friday buys • Christmas gear

Season 2 of Workin For That Snow is HERE!!!we backkkkkk and we smarter than ever.we is scientists.Our audio engineer Tayler joins us on our Season 2 opener.hosts Grandma, Pizza, Tayler, and Yuri talk: If not now - when? It's time to make moves - the ultimate goal being snow.audio/visual production in NYC,fly fishing in WY aka holy wadders with a side of salmon,Grandma workin on live TV or at a strip club?Yuri starting R & D for Taos Adaptive, grandma lying about how tall Kachina is,the roof is on fire - Big SNOW closing,new rad art on clothes at Elevatedlocals.com,Powder Day Photography hiring - Yuri gets a job interview  & Grandma gets fired.taking photos for cat skiing - how cat skiing works - & the last season of cat skiing for Targhee.Also can you leave the bread out???Recorded 10.21.21WorkinForThatSnow

This episode: we meet Tim Pye, he started out as a stagehand on A Country Practice in the early eighties and has had a huge career in television since. We'll find out what A Country Practice taught him, And, we look at the From The Ashes episodes - there's been a fire in Wandin Valley - how will the town cope? A COUNTRY PODCAST on FacebookHost/ Producer: Melanie Tait on Twitter Host/ Producer: Kim Lester on Twitter Social Media Editor: Chez Robbie See omnystudio.com/listener for privacy information. From the Ashes Part 1 From the Ashes Part 2 See omnystudio.com/listener for privacy information.

Taking a break from the metal and rock music at Louisville's Louder Than Life music festival, Rob Dietrich joins the Bourbon Lens to talk whiskey.  Rob Dietrich is Master Distiller for Blackened American Whiskey and has taken over their reins from the late Dave Pickerell. Rob is a talented distiller (formerly of Colorado's Stranahan's) and even has a history of working in the music industry, so landing with Metallica's Blackened brand is a natural fit for him. You'll hear a lot about Rob's philosophy of whiskey, his love for music, and his passion for this brand as they head international.   We are thankful for everyone who has supported us. A huge shoutout to our growing Patreon Community as well! We'd appreciate it if you can take the time to give us feedback on our podcast. If you enjoy our content, consider giving us a 5 star rating on your favorite podcast app, leave us a review, and tell a fellow bourbon lover about our show. Follow  us @BourbonLens on Instagram, Facebook, & Twitter.  And please check out our Patreon to learn how you can support our endeavors, earn Bourbon Lens swag, be part of future barrel picks, and more. If you have any comments, questions, or suggestions, please email us at TheBourbonLens@Gmail.com. Visit our website BourbonLens.com to check out our blog posts, or even purchase your own Bourbon Lens tasting glass or t-shirt. Cheers,Scott, Jake, & MichaelBourbon Lens About Blackened Whiskey: BLACKENED was created in 2018 by Metallica and late Master Distiller Dave Pickerell. It features a blend of the finest North American bourbons and ryes that were hand-selected by Dave and finished in black brandy casks. During finishing, the whiskey undergoes the BLACK NOISE sonic-enhancement where the low frequencies of Metallica's music pummel the finishing barrel, visibly shaking it, causing greater interaction between the whiskey and the wood, thereby extracting more flavor and color. The playlist for the batches are traditionally selected by the members of Metallica and can be found on the website at https://blackenedwhiskey.com/batch-playlists/  The brand recently unveiled its new “Masters of Whiskey Series,” which partners Rob Dietrich with other renowned master distillers to reimagine craft whiskey. The series debuted with the BLACKENED x Willett Kentucky Straight Rye Finished in Madeira Casks created in collaboration with Drew Kulsveen and Willett Distillery. It's crafted from a base of low rye and high rye recipes hand-selected by Rob and Drew from the Willett Family Estate Reserve Selection. The whiskies are married in Madeira Casks where they undergo the BLACK NOISE sonic-enhancement process using a playlist selected by both Master Distillers. It's bottled at cask strength at 109.6 proof. Bottle Stock Image Credit: Blackened American Whiskey Show Links: BLACKENED American Whiskey | Premium Bourbon-Rye Blend 3 ‘Drinking Rules of Engagement' by Rob Dietrich Blackened Batch - Metallica Playlists on Spotify  Robb Report Review: Blackened, the Whiskey That's Aged to the Sounds of Metallica – Robb Report Introducing Blackened American Whiskey... Whiskey Remastered | Metallica.com The Whiskey Wash Interview: Becoming ‘One' With Metallica's Whiskey Brand Guitar World Feature - Metallica's Blackened American Whiskey has been “pummeled by the low-hertz frequencies” of the band's classic tracks Revolver Magazine - Metallica's Black Album Meets Blackened American Whiskey: Inside Batch 114 BLACKENED American Whiskey Introduces Limited Edition "The Black Album" Whiskey Pack SF Gate Feature - The secret ingredient in this whiskey is Metallica...no seriously Vulture.com Review: Metallica 'S&M2' Blackened American Whiskey Men's Journal - Meet the Rebel Distillers Breaking All the Rules on Whiskey Maxim.com - Metallica Celebrates The Black Album Anniversary with Blackened Whiskey Pack The Manual Feature - Metallica Fuses with Willett Distillery To Create an Exclusive Rye Revolver Magazine - Metallica's Blackened American Whiskey: Rob Dietrich's Journey From Stagehand to Master Distiller Forbes Feature - Metal and Rock's Triumphant Return At 2021's Louder Than Life Festival Watch METALLICA Play "Ride The Lightning" At Louder Than Life Blabbermouth.net - METALLICA Releases Pro-Shot Video Of 'Ride The Lightning' Performance From LOUDER THAN LIFE Festival   

Samantha Sage was the first female Stagehand hired at the Stardust Hotel for the Lido de Paris. Samantha was chosen by Siegfried and Roy to be their Down Stage Right which allowed her wonderful and precarious experiences with the animals. Check out the Patreon www.patreon.com/bluebellsforeverpod Follow us on Instagram and Facebook to see photos and updates www.instagram.com/bluebells_forever/ www.facebook.com/Bluebells-Forever-100660515010096

Tom brings another guest onto the podcast who has been around the Palace Theater since the early 1970s, Rocco Orso. Rocco was a movie projectionist, spotlight operator, and stagehand for the Palace in the 70s. Hear his stories from what the Palace was like all those years ago. Learn more about the Palace Theater in the 70s and 80s during our "Concert Legends" show with Jim Koplik and Mike Lapitino on October 14.

Im Interview mit Michael Feldbausch spreche ich über seinen langen Werdegang im Substage. Wir besprechen die Arbeit als Stagehand, Veranstaltungsleiter und seinen Zugang zum Substage. Weitere Themen in dieser Folge sind: - Die Rolle der Musik bei der Arbeit. - warum Micha bald 20 Jahre im Substage ist. - Der Umzug 2010 vom alten Substage in der Unterführung am Ettlinger Tor in die neue Halle auf dem alten Schlachthofgelände - Die Sache mit dem Ehering bei der Ü30 Party. Außerdem bekommen wir einen Einblick in seinen Hauptjob als Lehrer an einer Sonderpädagogischen Schule. Michas Schwerpunkt liegt hier auf der emotional, sozialen Entwicklung von Kindern und innerhalb seines Jobs muss er in engen Strukturen hin und wieder ein kalkuliertes Risiko. Viel Spaß beim Reinhören. Mit einem Abo und einer Bewertung bei Spotify, Apple, oder anderen Portalen, Hilfst du uns möglichst vielen Menschen Einblick in das Substage zu geben. Dafür an dieser Stelle vielen Dank! _________________________________________________________________________ Shownotes allgemein: Wir freuen uns über Euer Feedback. Lasst uns eine Bewertung und ein Kommentar auf Apple da und schreibt Eure Anregungen, Fragen und Feedback an podcast@substage.de https://linktr.ee/SubstagePodcast Zum Podcast: - Blog & Webplayer: https://dein-substage.podigee.io/ - Spotify: https://open.spotify.com/show/3OzVN2JA1DZkjq4sOccTGr - APPLE Podcasts: https://podcasts.apple.com/podcast/id1571360502 - AMAZON Music: https://music.amazon.de/podcasts/5377e813-e8b4-4df4-b9c2-4b611dc12382/DEIN-SUBSTAGE Im Netz: - Website: www.substage.de - Substage Cafe: https://substage.de/cafe-bar/ Social Media: - FACEBOOK Seite: https://www.facebook.com/substage.karlsruhe - FACEBOOK Seite des CAFE's: https://www.facebook.com/Substagecafe - INSTAGRAM: https://www.instagram.com/substage_karlsruhe/

Thank you for listening to the Leaders, Innovators and Big Ideas podcast, supported by Rainforest Alberta. The podcast that highlights those people who are contributing to and/or supporting the innovation ecosystem in Alberta. Michael G Hayward I am a customer experience and marketing professional with experience in hospitality, travel and retail and am known for crafting exceptional 'nose-to-tail' customer experiences where you don't have direct control of all the points of contact. I bring stakeholders together and develop a shared view of the customer's journey, and help them understand how they contribute to it, and impact it. Over my career I have worked in hospitality (Four Seasons Hotels and Resorts), digital analytics (as CEO of ROI Labs), senior living (Amica Senior Lifestyles), academics (Seneca College) and air travel (Calgary Airport Authority). Now I am embarking on an entrepreneurial path, seeking to help people access mental health supports more easily and with better outcomes. Derek Manns Derek is the founder of Stagehand. Stagehand is focused on creating new opportunities for artists by providing a platform that makes it easy for non-traditional businesses/organizations to work with local artists. Derek spent most of his career in the information technology field, his formal training is as an engineer but he spent most of his career in sales, marketing and leadership roles. Derek was introduced to the Arts by my three daughters who are passionate, dedicated and talented young dancers. He discovered the incredible talent that is present in the local Arts community and felt that the impediments faced by emerging artists was a missed opportunity for the community as a whole. Please be sure to share this episode with everyone you know. If you are interested in being either a host, a guest, or a sponsor of the show, please reach out. We are published in Google Podcasts and the iTunes store for Apple Podcasts We would be grateful if you could give us a rating as it helps spread the word about the show. Show Summary Michael and Derek talk about Stagehand.app, a web service that matches artists with venues, and allows venues to easily create and support music programs. Show Quote: Credits... This Episode Sponsored By: Community Now! Magazine Episode Music: Tony Del Degan Creator & Producer: Al Del Degan System Engineering Sponsor: Kris Chase - Chase Telecom Inc.  

In den 90ern an der Theke angefangen und mit eigener kleiner Agentur und ihrer Partnerin und ihrem Partner Konzerte veranstaltet. So ist Vivien ins Substage gekommen. Nach dem Studium an der Popakademie und der Arbeit im Substage hat sie dann ab 2015 für 4 Jahre in Hamburg bei einer der größten Konzert-, Festival- und Tourneeagenturen in Europa gearbeitet, bevor sie dann wieder zurück zu uns ins Substage kam. Wir sprechen über: - die Branche in den 90er Jahren und wie man damals ins Geschäft kam - die Branche und wie sie funktioniert - wie sind die Deals mit den Agenturen der Künstler - Warum es sich lohnt einfach mal an der Theke, als Stagehand usw. anzufangen. - Genderparität in der Musikbranche Diese und andere Themen hört ihr in dieser Folge Viel Spaß beim Reinhören, Bewerten und Abonnieren.  _________________________________________________________________________ Shownotes der Folge: - FKP Scorpio Konzert- und Tourneeagentur: https://www.fkpscorpio.com/ - The Linda Lindas: https://thelindalindas.wixsite.com/rock/about - Popakademie: https://www.popakademie.de/de/ _________________________________________________________________________ Shownotes allgemein: Wir freuen uns über Euer Feedback. Lasst uns eine Bewertung und ein Kommentar auf Apple da und schreibt Eure Anregungen, Fragen und Feedback an podcast@substage.de https://linktr.ee/SubstagePodcast Zum Podcast: - Blog & Webplayer: https://dein-substage.podigee.io/ - Spotify: https://open.spotify.com/show/3OzVN2JA1DZkjq4sOccTGr - APPLE Podcasts: https://podcasts.apple.com/podcast/id1571360502 - AMAZON Music: https://music.amazon.de/podcasts/5377e813-e8b4-4df4-b9c2-4b611dc12382/DEIN-SUBSTAGE Im Netz: - Website: www.substage.de - Substage Café: https://substage.de/cafe-bar/ Social Media: - FACEBOOK Seite: https://www.facebook.com/substage.karlsruhe - FACEBOOK Seite des CAFE's: https://www.facebook.com/Substagecafe - INSTAGRAM: https://www.instagram.com/substage_karlsruhe/

A former ABC chief foreign correspondent, Philip began at the ABC as a stagehand in 1975. He left the organisation 46 years later after reporting from Japan, Washington, the Middle East, Nyngan and the Ukraine

A former ABC chief foreign correspondent, Philip began at the ABC as a stagehand in 1975. He left the organisation 46 years later after reporting from Japan, Washington, the Middle East, Nyngan and the Ukraine

OSHA Cites Shuberts in Death of Stagehand, Mary McColl to Depart AEA in 2022, Star-Studded “Beehive” from Paper Mill “Today on Broadway” is a daily, Monday through Friday, podcast hitting the top theatre headlines of the day. Any and all feedback is appreciated:  Ashley Steves ashley@broadwayradio.com | @NoThisIsAshleyGrace Aki grace@broadwayradio.com read more

Have you been considering union work to supplement your other theatre earnings? Get some sage advice from IATSE Stagehand, Parris Foster as he sat down with Leazah on April 24th, 2021.

Hosted by Danny "Donuts" Del PrincipeProduced by Kenneth FletcherTheme music is "Storms" by Person L

Hosted by Danny "Donuts" Del PrincipeProduced by Kenneth FletcherTheme music is "Storms" by Person L

"Hallo und herzlichen Willkommen" heißt es wieder! Heute sprechen wir mit dem sympathischen Alex Papatheodorou; FOH und Produzent von der SAE Köln. In dieser Episode sprechen wir mit ihm über seinen beruflichen Werdegang und wie er nach Beendigung seines Studiums an der SAE Köln die ersten Schritte als FOH Techniker wagte. Dazu gibt es ein paar witzige Andektodenten und ehrliche Einblicke in sein Berufsleben. Alex hat mittlerweile schon mit Künstlern wie Alice Merton , Cypress Hill, Manowar, Kelly Family… als Live Techniker und Stagehand gearbeitet. Weiterhin sprechen wir über sein Bandprojekt „Eternal Journey Project“, Inspirationen und Vorgehensweisen beim Songwriting sowie aktuelle Produktionen mit dem Künstler Gabriel Kelly. Wer sich schon immer gefragt hat, wie man ein Live Konzert akustisch komplett vor die Wand fährt, ist hier richtig! Viel Spaß bei der Episode! https://linktr.ee/eternaljourney http://papatheodorou.de http://eternaljourney.de/music-slider/ https://www.instagram.com/eternaljourneyprog/ Life After SAE auf Instagram: https://www.instagram.com/lifeaftersae/ Mehr zu Kurt gibt's hier: Instagram: https://www.instagram.com/kurt_jonathan_engert/ Homepage: https://www.kurt-jonathan-engert.com Mehr zu Glen gibt's hier: Instagram: https://www.instagram.com/glen_schaele/ https://linktr.ee/glenschaele

Nachdem er in Folge 45 des Redfield Podcast bereits über seine Karriere („vom Stagehand zum CEO“) gesprochen und dabei Einblicke in die damalige Lage bei FKP Scorpio gegeben hat, ist Stephan Thanscheidt nach einem knappen Jahr nun erneut zu Gast bei Alexander Schröder. Der Geschäftsführer von einem der größten europäischen Veranstalter für Festivals, Tourneen und örtlichen Konzerten mit diversen ausländischen Tochterfirmen gibt ein Update zur aktuellen Situation bei FKP Scorpio und der Livebranche. Er berichtet, mit welchen Herausforderungen sich insbesondere Festivalmacher beschäftigen müssen, wie das Booking in 2022 aussieht und wie er mit dem Medieninteresse an seiner Person umgeht. Dabei stellt er auch heraus, wie es derzeit um die Solidarität innerhalb der Branche bestellt ist und warum er sich so intensiv in Verbänden und gegenüber der Politik engagiert. Zum Ende des Gesprächs werfen beide noch einen kurzen Blick auf die geschäftlichen Veränderungen innerhalb der Branche (z.B. DreamHaus, Undercover, Auf die Feine Tour) und wie das europäische Ausland den Festivalsommer 2021 bewertet. www.fkpscorpio.com www.redfield-podcast.de

CW: Gaslighting, reference to alcohol, minor languageIt’s the day of the show, y’all! Digital program available at https://drive.google.com/file/d/14n7Re3QtUTNxmCFmL_Mwz_CFXSKUAsRb/view?usp=sharingTranscript available at https://docs.google.com/document/d/1xKd_xIESRywc2r4ROLHjoytUpN8BOLGd7O7lIZw8pRQ/edit?usp=sharingWritten by T.P. Huth, with improvisation by the performers. Editing by T.P. Huth. Additional sound design by Rose Hahn. Additional editing by Kati Kawaguchi.Sound effects from freesound.org, under Creative Commons. This musical audio drama was produced by Moon Harbor Heroes, as part of March Masksness 2021. You can follow Moon Harbor Heroes @moonharborcast on Twitter. You can find March Masksness @MarchMasksness.Characters were drawn from Apex City, Moon Harbor Heroes, Nerds on a Roll, Otherwhere, Outstanding!, Paradigm Academy, Protean City Comics, Roll Out!, Super Idols, and Unlabelled AP with performers from these podcasts as well as Corpses and Curios, Critically Cute, In Quest of Geek, Pinnacle City in Tabletop Roulette, and Super Streets.Crash Override is played by Alice Kyra. Fae can be found on Unlabelled AP or on Twitter @magicalgirlkyra Travail is played by Alix Catherine. She can be found on In Quest of Geek or on Twitter @AlixWithAnOy.Jade Scarab was played by Amr Ammouraz. She can be found on Moon Harbor Heroes or Protean City Comics or on Twitter @ammourazz.Twist was played by Ashe. Ze can be found on Critically Cute or on Twitter @aLibraryCryptid.Silas was played by Ashley. They can be found on Twitter @FauxFireAsh. Jack Chance was played by Brandon Leon-Gambetta. He can be found on Protean City Comics or on Twitter @bleongambetta.Stellar was played by Charlie. Ce can be found on Otherwhere or on Precure! Podcast Engage! Or on Twitter @magical_pride. Cacophony was played by Chris (aka Polish Ogre). He can be found on Corpses & Curios or on Twitter @Polish_Ogre. Dallas was played by Dallas. He can be found on Twitter @dallas_hawthorn.Violence Violet was played by Dana Lexa. She can be found on Super Idols and on Twitter @authorx. Nazgrim Bloodscale was played by DJ Schulkey. He can be found on Nerds on a Roll or on Twitter @dschulkey.Boom is played by Eli Lee. They can be found on the Roll Out Podcast, or on Twitter @itshamhocksEditor 2 and Echo were played by Elliot Peterson. She can be found on Moon Harbor Heroes or Paradigm Academy or on Twitter @elliotylen.Editor 1 was played by Erik. He can be found on Otherwhere, Shadows of St. Fleur, or on Twitter @PrimeFactorX01.Karen is played by Eryn Cerise. She can be found on Super Idols and on Twitter @eryncerise.The Getup Noise is played by Evan G. They can be found on the Roll Out Podcast or on Twitter @unclepetunio.Anai was played by Evan S. They can be found on the Roll Out! Podcast or on Twitter @NamesEquipped.The theatre shusher was played by icy Sheets. They can be found on Moon Harbor Heroes or on Twitter @icynewyear. Elliot Nagra was played by Izzy (a.k.a. Praxis). They can be found on Outstanding! or on Twitter @PraxisDescends. Lightshow was played by James Malloy. He can be found on Protean City Comics or on Twitter @AndTheMeltdowns.The Blade of Sorrows was played by Jason Patrick Galit (JPG). He can be found on Nerds on a Roll, In Quest of Geek, Moon Harbor Heroes, or on Twitter @JaePeaGee.Mar was played by Jeremy. He can be found on Apex City and Outstanding! or on Twitter @tayuface.Rider Typhen was played by Kai Lee Cain. They can be found on The Versian Chronicles, Moon Harbor Heroes, or on Twitter @TheVersian. Aria was played by Kailyn E. She can be found on Critically Cute or on Twitter @BiggieKK. Kid Kati was played by Kati Kawaguchi. She can be found on Nerds on a Roll or on Twitter @_kidkati. Stagehand was played by Landon. He can be found on Shadows of St. Fleur or on Twitter @OccasionalGM. Julia Lit of That’s Lit with Julia Lit was played by Lee Alder Katcham Seguinte. He can be found on Otherwhere and as the writer and producer of the audio dramas Arcadia, California, and Breathing Space, Final Frontier or on Twitter @TheLawofNames.Imp was played by Loren Peterson. He can be found on Nerds on a Roll, In Quest of Geek, or on Twitter @DM_LSP.Queen Bee was played by Luca. They can be found on Super Idols Golden Glove was played by Roberto Segarra. He can be found on Nerds on a Roll or on Twitter @rob_kabobb. The Wild Thing was played by Rose Hahn. She can be found on Moon Harbor Heroes, A Game Called Quest or on Twitter (@smileyroseyyyy).Nikki was played by Siobhan. She can be found on Otherwhere or on Twitter @spellboundmage. Light Hammer was played by T. Huth. She can be found on Moon Harbor Heroes and Dungeons and Drama Nerds or on Twitter @tphuth94.Camille is played by Vanessa Haas. They can be found on LGBT&D and Tabletop Roulette or on Twitter @alpacamybooks.

A Very Special Episode, featuring Olivia's tomato bisque.With:Charlie @magical_pride as Stellar;Cassidy @madlobotanist as Scam Likely;Landon @OccasionalGM as Stagehand;andJeremy @tayuface as Olivia LaRange See acast.com/privacy for privacy and opt-out information.

CW: Gaslighting, reference to alcohol, minor language Two divas (jazz) square off as rehearsals heat up. Digital program available at https://drive.google.com/file/d/1WKciB6Vl08UZ5e6eSCvSBGyCedExed9C/view?usp=sharing. Transcript available at https://docs.google.com/document/d/1d_oukP2PwWxigZSQ1NyJCEHu9ojWPIZtkw4bIu5JQTA/edit. Book, music, and lyrics were written by T.P. Huth, with improvisation from the performers. Editing by T.P. Huth. Sound effects from freesound.org, under Creative Commons. This musical audio drama was produced by Moon Harbor Heroes, as part of March Masksness 2021. You can follow Moon Harbor Heroes @moonharborcast on Twitter. You can find the March Masksness voting on Twitter @MarchMasksness. Characters were drawn from Apex City, Moon Harbor Heroes, Nerds on a Roll, Otherwhere, Outstanding!, Paradigm Academy, Protean City Comics, Roll Out!, Super Idols, and Unlabelled AP with performers from these podcasts as well as Corpses and Curios, Critically Cute, In Quest of Geek, Pinnacle City in Tabletop Roulette, and Super Streets. Check out all of these amazing actual plays, available wherever you listen to podcasts. Editor 1 was played by Erik. He can be found on Otherwhere, Shadows of St. Fleur, or on Twitter @PrimeFactorX01. Editor 2 and Echo were played by Elliot Peterson. She can be found on Moon Harbor Heroes or Paradigm Academy or on Twitter @elliotylen. Boom is played by Eli Lee. They can be found on the Roll Out Podcast, or on Twitter @itshamhocks. Crash Override is played by Alice Kyra. Fae can be found on Unlabelled AP or on Twitter @magicalgirlkyra Twist was played by Ashe. Ze can be found on Critically Cute or on Twitter @aLibraryCryptid. The Wild Thing was played by Rose Hahn. She can be found on Moon Harbor Heroes, A Game Called Quest or on Twitter (@smileyroseyyyy). Lightshow was played by James Malloy. He can be found on Protean City Comics or on Twitter @AndTheMeltdowns. Camille is played by Vanessa Haas. They can be found on LGBT&D and Tabletop Roulette or on Twitter @alpacamybooks. Aria was played by Kailyn E. She can be found on Critically Cute or on Twitter @BiggieKK. Kid Kati was played by Kati Kawaguchi. She can be found on Nerds on a Roll or on Twitter @_kidkati. Light Hammer was played by T. Huth. She can be found on Moon Harbor Heroes and Dungeons and Drama Nerds or on Twitter @tphuth94. Nikki was played by Siobhan. She can be found on Otherwhere or on Twitter @spellboundmage. The Getup Noise is played b y Evan G. They can be found on the Roll Out Podcast or on Twitter @unclepetunio. The anonymous PCOY child was played by Brandon Leon-Gambetta. He can be found on Protean City Comics or on Twitter @bleongambetta. Sage was played by Elsbeth Denman. She can be found on Protean City Comics and Outstanding! Or on Twitter @savetheturret. Cacophony was played by Chris (aka Polish Ogre). He can be found on Corpses & Curios or on Twitter @Polish_Ogre. Anai was played by Evan S. They can be found on the Roll Out! Podcast or on Twitter @NamesEquipped. Stagehand was played by Landon. He can be found on Shadows of St. Fleur or on Twitter @OccasionalGM. Stellar was played by Charlie. Ce can be found on Otherwhere or on Precure! Podcast Engage! Or on Twitter @magical_pride. Mar was played by Jeremy. He can be found on Apex City and Outstanding! or on Twitter @tayuface.

Its March 9th, 2021 and It's been just over a year now where this lockdown has forced many to be sidelined from the job they love.  Pivoting for some has come easy, but for others who rely on a packed concert venue or live theatre, it’s been well bad, really bad.   And it’s not just the performers and artists, it has had a ripple affect on all the support staff behind the scenes and upfront as well.    Resolving the future of live venues  in this new reality where rubbing knees with a stranger in a historic theatre with cozy seating seems still far off.  Arts and Culture make any community come alive.  And in the summer a spontaneous dinner before a surprise concert, has to be the best night out.  We miss you restaurants,  theatre and concert staff and Toronto’s Historic Elgin and Winter Garden Theatre is no exception.    Robin Johnston has worked at this theatre as Head of Sound for 5 years and has put in his time as a stagehand for 20.  He deeply misses his job, his second family,  and this magical interior that transforms his tasks  from ordinary to amazing.  I enjoyed speaking to Robin about his craft and his passion for this historic theatre.https://www.heritagetrust.on.ca/en/ewg/ewg-home

CW: Gaslighting Another March Masksness issue. And this time *jazz hands* it’s a musical! Transcript available at https://docs.google.com/document/d/1L...​. Book, music, and lyrics were written by T.P. Huth, with improvisation from the performers. Editing by T.P. Huth. Additional music for this issue was Volatile Reaction by Kevin MacLeod Link: https://incompetech.filmmusic.io/song...​ License: https://filmmusic.io/standard-license​ Sound effects from freesound.org, under Creative Commons. This musical audio drama was produced by Moon Harbor Heroes, as part of March Masksness 2021. You can follow Moon Harbor Heroes @moonharborcast on Twitter. You can find the March Masksness voting on Twitter @MarchMasksness. Characters were drawn from Apex City, Moon Harbor Heroes, Nerds on a Roll, Otherwhere, Outstanding!, Paradigm Academy, Protean City Comics, Roll Out!, Super Idols, and Unlabelled AP with performers from these podcasts as well as Corpses and Curios, Critically Cute, In Quest of Geek, Pinnacle City in Tabletop Roulette, and Super Streets. Check out all of these amazing actual plays, available wherever you listen to podcasts. Editor 1 was played by Erik. He can be found on Otherwhere, Shadows of St. Fleur, or on Twitter @PrimeFactorX01. Editor 2 and Echo were played by Elliot Peterson. She can be found on Moon Harbor Heroes or Paradigm Academy or on Twitter @elliotylen. The actor was played by Andy. He can be found onTabletop Roulette or on Twitter @andylion92. Lightshow was played by James Malloy. He can be found on Protean City Comics or on Twitter @AndTheMeltdowns. Light Hammer was played by T. Huth. She can be found on Moon Harbor Heroes and Dungeons and Drama Nerds or on Twitter @tphuth94. The Getup Noise is played b y Evan G. They can be found on the Roll Out Podcast or on Twitter @unclepetunio. Boom is played by Eli Lee. They can be found on the Roll Out Podcast, or on Twitter @itshamhocks. Anai was played by Evan S. They can be found on the Roll Out! Podcast or on Twitter @NamesEquipped. Nikki was played by Siobhan. She can be found on Otherwhere or on Twitter @spellboundmage. Stellar was played by Charlie. Ce can be found on Otherwhere or on Precure! Podcast Engage! Or on Twitter @magical_pride. Camille is played by Vanessa Haas. They can be found on LGBT&D and Tabletop Roulette or on Twitter @alpacamybooks. Crash Override is played by Alice Kyra. Fae can be found on Unlabelled AP or on Twitter @magicalgirlkyra. Stagehand was played by Landon. He can be found on Shadows of St. Fleur or on Twitter @OccasionalGM. Twist was played by Ashe. Ze can be found on Critically Cute or on Twitter @aLibraryCryptid. The Wild Thing was played by Rose Hahn. She can be found on Moon Harbor Heroes, A Game Called Quest or on Twitter @smileyroseyyyy. Elliot Nagra was played by Praxis. They can be found on Outstanding! Or on Twitter @PraxisDescends. Kid Kati was played by Kati Kawaguchi. She can be found on Nerds on a Roll or on Twitter @_kidkati. The soloist was played by Dallas. He can be found on Twitter @dallas_hawthorn. Mar was played by Jeremy. He can be found on Apex City and Outstanding! or on Twitter @tayuface. Aria was played by Kailyn E. She can be found on Critically Cute or on Twitter @BiggieKK. Rider Typhen was played by Kai Lee Cain. They can be found on Versian Chronicles or Moon Harbor Heroes or on Twitter @TheVersian. Cacophony was played by Chris (aka Polish Ogre). He can be found on Corpses & Curios or on Twitter @Polish_Ogre.

CW: DeathRebuild.Featuring the talents of:Erik @PrimeFactorX01 as Daybreak;Maq @maquekenzie as Petrine;Nick @rfencounters as Horsehead;Charlie @magical_pride as Stellar;Evan Saft @NamesEquipped as Hextinction;Landon Cornell @OccasionalGM as Stagehand;andVanessa Haas @alpacamybooks as Kiran See acast.com/privacy for privacy and opt-out information.

Become the shattered mirror.Featuring the talents of:Erik @PrimeFactorX01 as Daybreak;Maq @maquekenzie as Petrine;Nick @rfencounters as Horsehead;Charlie @magical_pride as Stellar;Evan Saft @NamesEquipped as Hextinction;Landon Cornell @OccasionalGM as Stagehand;andVanessa Haas @alpacamybooks as Kiran See acast.com/privacy for privacy and opt-out information.

CW: Death, needlesBegin the unravelling.Featuring the talents of:Erik @PrimeFactorX01 as Daybreak;Maq @maquekenzie as Petrine;Nick @rfencounters as Horsehead;Charlie @magical_pride as Stellar;Evan Saft @NamesEquipped as Hextinction;Landon Cornell @OccasionalGM as Stagehand;andVanessa Haas @alpacamybooks as Kiran See acast.com/privacy for privacy and opt-out information.

Christian is back on the show to talk about big new features that are coming to both the next iteration of Stagehand motion controllers and Spikemark software. And then we talk a lot about cameras too. Fixing the Cue Grid in Big Show Mode Extending the Stagehand motion controller for load cells Adding dedicated cross-groove detection inputs to the Stagehand Improved jogging Addressable E-Stops Falling down the camera rabbit hole Mirrorless vs DSLR Nikon, Sony, Fuji options Full-frame or APS-C

with Wu Chen Khoo - Freelance Lighting Designer, Technical Director and Stagehand out of Minneapolis, Minnesota On this episode, we discuss how racism and classism exist in our industry, how travel restrictions can reduce business opportunities, what it’s like for immigrants to be working in entertainment, the role of classism in shaping the work of the local theater, how we can improve working conditions, how to encourage diversity in entertainment, how to create equal opportunities, and the inherent flaws in hiring practices. Please visit: https://www.facebook.com/ClassandtheArts/ and http://www.techtoolstraining.org/

Tales of a Stagehand. Honest insights from a stage hand, and the hilarity that ensues.

Ryan Pervola has been working backstage on shows since he was in 4th grade.  Graduating from Towson University's theatre dept in 2009, he's a proud member of IATSE Local 19 since 2010, a resident LD and programmer for Merriweather Post Pavillion, L2 for Ring of Honor Wrestling, and former stage manager and spew slave for the Gwar-BQ hosted by the band Gwar. 

Über abgesagte Tourneen und Festivals und was das für Künstler*innen bedeutet, ist viel berichtet worden. Weniger Aufmerksamkeit bekommen die Leute, die im Hintergrund arbeiten, zum Beispiel Bühnen- und Tontechniker*innen. Die meisten von ihnen arbeiten freiberuflich und haben seit März keine Aufträge mehr. Darauf aufmerksam machen will #handforahand, eine Initiative des Vereins Junge Literaturvermittlung Köln. Lars spricht mit dem Autor Dorian Steinhoff, der Teil des Vorstands ist. Mehr Infos auf https://www.handforahand.de/ Soli-Streams gibt's bei https://dringeblieben.de/ Übersicht über Maßnahmen und Hilfen: https://kreativ-bund.de/corona

In yet another episode, the Calgary Business Podcast featured a guest that pivoted from his career as an engineer into a real business opportunity providing talented artists with an off-stage platform to find gigs. To learn more, click on the links below: §§§ StageHand website | https://www.stagehand.app StageHand on Twitter | @stagehandlive StageHand on Instagram | @stagehandlive Derek Manns on LinkedIn | https://www.linkedin.com/in/derek-manns/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/allen-wazny/message

Kenny Barnwell shares how he went from living on the street to living on tour with some of the biggest names in the music industry. We tell stories about: 00:03:00 - Meeting as young entrepreneurs 00:05:00 - Feeling like an outcast and finding solace in substances 00:07:00 - Transformation through adversity 00:08:20 - Falling on hard times and ending up on the street 00:16:00 - Answering the door when opportunity knocks... isn’t always easy 00:22:00 - Learning to create your own definition of success 00:27:00 - Making a career out of serving others 00:33:50 - Overcoming self-doubt, one day at a time To learn more, and for the complete show notes, visit: riseabovetheashes.com (http://riseabovetheashes.com) Resources: www.kennybarnwell.com (http://www.kennybarnwell.com) Facebook: www.facebook.com/kennybarnwell (https://www.facebook.com/kennybarnwell) Backstage Pass: 10 Things To Consider When Becoming A Touring Music Tech (https://www.kennybarnwell.com/order-form18638062) Stagehand 101 (https://www.kennybarnwell.com/stagehand-101-digital-download-order-form) Rise Above the Ashes is a production of (http://crate.media)

This episode I talk about my experience as a stagehand and a list of artists I built stages for, my inputs on recording and mixing vocals, and a shout out to my mentor @stevehybicki (Mixing Engineer) with a list of engineers he worked with. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/rebelears/support

Written by: Lesroy Louard There is the Corporate lane, the Freelance lane and the lane that Miki Rosta spends time sharing with us, shedding a little light on, the Union lane. Union member since the age of 17, Miki, is ecstatic for the life afforded to him by the Stagehand Labor Union, the Local 720 […]

The Jesus Saves Ministry, Inc 1007 W. Arlington Blvd Greenville, N. C. 27834 www.tjsm.org E-Mail: gojesusnow@aol.com 252-689-6172 252.916.0104 Appointments: 252-214-0799 extra 252.329.0484  Apostle, Lonnie Stocks, pastor Audio now24/7  1-605-781-9704   Mark 1:1-7 (MSG) 1  The good news of Jesus Christ—the Message!—begins here, 2  following to the letter the scroll of the prophet Isaiah. Watch closely: I'm sending my preacher ahead of you; He'll make the road smooth for you. 3  Thunder in the desert! Prepare for God's arrival! Make the road smooth and straight! 4  John the Baptizer appeared in the wild, preaching a baptism of life-change that leads to forgiveness of sins. 5  People thronged to him from Judea and Jerusalem and, as they confessed their sins, were baptized by him in the Jordan River into a changed life. 6  John wore a camel-hair habit, tied at the waist with a leather belt. He ate locusts and wild field honey. 7  As he preached he said, "The real action comes next: The star in this drama, to whom I'm a mere stagehand, will change your life.    

In this episode I want to talk about why being a stage hand sometimes helps you be a better person at your favorite job in theatre.

What is possible when you decide to step outside of the pack and distinguish yourself in a unique way? Well we're not really sure, but taking that journey is part of the beauty and fun. In this particular case, a unique approach to a LinkedIn introduction leads to Derek Manns joining us for episode 48. You'll have to tune in for details on that. Derek is a man on a mission and as per usual here at The GYST Life, his mission is heart-centered and about something bigger than himself.   A few thoughts we want to leave with you to think about as you listen… You've likely gone to a live show and witnessed some amazing performances only to never see or hear from that artist again. Frustrating right? Or perhaps you, yourself are a performer who wants more opportunities to be paid for your art. Impossible yeah?   Join us as Derek, CEO of Stagehand shares his inspiring story that bridges the gap between Artists and those who appreciate talent and passion. Derek has helped over 700 artists earn paid gigs.   Stagehand is a startup, so there will be plenty of lessons in this episode that will help you get your shit together.   Looking for a cool venue to check out some of Calgary's talent? Half Hitch in Cochrane http://bit.ly/2KeTxhC Gravity Expresso & Wine Bar http://bit.ly/2FpJwzm Send us a message at Sayhi@TheGyst.Life ______ Stagehand's website http://bit.ly/2Q2BCzN Follow Stagehand on Instagram at http://bit.ly/2FsJPJE Follow Stagehand on facebook at http://bit.ly/2BcwSzi Follow The GYST on facebook at http://bit.ly/2u2gM7C Follow David on Instagram http://bit.ly/2ueUyi1 Follow Vern on Instagram http://bit.ly/2KWCRe5 Subscribe to our Youtube Channel http://bit.ly/2KFG45T   Weekly. Unscripted and Real

***WARNING:  WE HAD SOME TECHNICAL ISSUES AND THE AUDIO IS BELOW OUR NORMALLY SUBPAR STANDARD.  YOU HAVE BEEN WARNED*** Mike and Gareth chat about: Ordway Deck Chiefs Houston Nutcracker 5th Ave Mama Mia ESPN TV Studio Disney fiasco Spikemark 4.0 / Stagehand update

This week, we get to actually fleshing out some characters! Get ready to delve into the lives of The Friendzone Warlock, the inventor of the esteemed Medieval Times, and a Stagehand. Are you ready? Because we certainly weren't.

This week, we get to actually fleshing out some characters! Get ready to delve into the lives of The Friendzone Warlock, the inventor of the esteemed Medieval Times, and a Stagehand. Are you ready? Because we certainly weren't.

Get a new Fatal Error episode every week by becoming a Patreon supporter!This week, Soroush was in Melbourne, Australia for the Playgrounds conference. In this episode, Chris interviews him about the conference, his talk, and other talks he found interesting.Playgrounds ConferenceSoroush's slides: Everything You Ever Wanted To Know About Sequence And CollectionA Beginner's Guide to Big O NotationBig-O Cheat SheetSwift sequence & collection types:SequenceCollectionBidirectionalCollectionRandomAccessCollectionMutableCollectionRangeReplaceableCollectionIteratorProtocolStack Overflow: MutableCollection vs RangeReplaceableCollectionDoubly-Linked ListMatt Comi, StagehandStack Overflow answer on pathfinding algorithms, with links to additional readingRay TracingMatt Gallagher: Cocoa With LoveMersenne primesUnsafeMutableBufferPointerSwift optimization tip: Use unchecked integer arithmetic when you can prove that overflow cannot occurTamar NachmanyJason BrennanSamuel GiddinsChris: String is not a sufficient typeChris EidhofHarlan HaskinsKaleidoscope 

This week Jesse and Kevin talk about magic shell, chocolate syrup, buying a cow, multi-day recipes, weeknight spaghetti, memorizing recipes, fantasy spots but for movies, games you don't play, making numbers bigger, white dudes screaming, skipping the first Harry Potter book, growing up with wizards, Star Wars tattoos, answers in your heart, defining genres, wizards with guns, hollywood accounting, how to make a bad movie, Jesse's bed, cats destroying couches, couch talk. You can follow us on twitter @unprepped. We don't have a facebook. Links Kevin made an egg cream. Watch a documentary about corn. Coffee milk is a weird Rhode Island specialty. Kevin introduces Jesse to the wonders of herb oil. Jesse is playing Stagehand. Kevin is playing idle games like Cookie Clicker. Jesse is watching The Good Place which is very funny. Jesse also read the first Harry Potter book. J.R.R. Tolkien defines the fantasy genre in the essay "On Fairy- Stories". Kevin likes the fantasy book Jonathan Strange & Mr Norrell. The Dresden Files is an urban fantasy series. Fan edits that we've seen: Jobilt's The Hobbit The Phantom Edit Harmy's Despecialized Steven Soderbergh's black and white Raiders of the Lost Ark Project Greenlight was a good show that made not good movies. Upstream Color sticks in your mind like a toothpick. Kevin thinks Synecdoche, New York is the best movie ever. [Because it is. -Ed] Kevin bought a fidget cube.

Printerji so ... grozni. Povezave Intel in cikli Setapp naročnina za Mac Appe UAC port in kabel Apple zaposlil Amazonovega vodja Fire Tv za TV Stagehand Google možgani in super resolucija

John Wick is a violent but fun movie and definitely not for the kids. Super Mario Run is out! The name of Neven Mrgan's upcoming game that Moltz couldn't remember in the show is Stagehand. Moltz and son still like the new Plants vs Zombies card game. Lex's daughter still refers to Moltz's Minecraft book as well as some other, lesser Minecraft books. Bitmoji is a god damn horror show if you ask me. Please refer to the list of films that most frequently use the word "fuck". Our thanks also to Toca Boca, makers of Toca TV. Toca TV is hand-curated videos for kids with no ads. Everything from Minecraft let's play to silly songs. Download it today from the App Store and enter code TTCA to get your first month free. Our thanks to Omaha Steaks. Go to OmahaSteaks.com and type "TURNING" in the search bar, add the Family Gift Pack to your cart and get a whole mess o' meat for just $49.99, a 77% savings! Great meat at a great price. Follow us: @ttcashow. Lex Friedman can be found @lexfri, John Moltz can be found @Moltz and Jon Armstrong is @blurb.

James Claffey is the President of Local One, the powerful Stagehands’ union. He worked throughout the Local One jurisdiction since 1982 in venues including Radio City Music Hall, the City Center 55th Street Dance Theatre, Madison Square Garden, CBS-TV, ABCTV and various Broadway theatres. Listen in to hear . . . How one becomes a Stagehand and how you can, too. Why he responds to emails he gets right away, even at midnight. The one myth about Stagehands that he can’t stand. What the 2007 Broadway Stagehands Strike taught him. The one crisis that is crippling all unions and all companies, including Producers.   Keep up with me: @KenDavenportBway www.theproducersperspective.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Today we are going to cover what magazines or journals you can get. most of them for free! they have nice information and the backstage scoop on big shows like eurovision, the London Olympics, and many Artists. Also we talk a bit about USITT which we think everyone should attend.

Today we add on a co-host Chad! We will be talking about the essential tools you will want to own and bring to every work call you go on.

This is Stagehand Lounge's First episode! Today we will talk about questions you should ask before you jump into a college theatre program. Ask us any of your stagecraft questions or leave us comments at: http://stagehandlounge.tumblr.com/ https://twitter.com/StagehandLounge

The Stagehands - with Heidi L. Brown, James Fedigan and Patrick Sullivan