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

Send us a textJim Tashjian started out studying jazz guitar in university, which brought him into many different musical projects.  He drifted toward, pop and rock, drawn by the interest of songwriting.  Bands like District 97, Miss Remember, Storm Jameson are but a few of the music groups that Tashjian has had a commanding hand in.  Our second interview focuses on Tashjian's songwriting process. We also get a chance to hear his way around a guitar and some insights into the exercises he has for channeling the muse.  A great primer for those who want to better their songwriting skills from this young veteran of the independent musical stage.  You can follow Jim at https://www.facebook.com/jim.tashjian.Support the showWe are always grateful to have you listening to STRUNG OUT. Here are some important links:SUPPORT THE SHOW:https://www.buymeacoffee.com/MartyfineaKMARTIN'S WEBSITE:http://www.MARTINMcCORMACK.COM (note---you can get my weekly bulletin when you sign up on the list!)MARTIN'S MUSIC: Music | Martin Laurence McCormack (bandcamp.com)Martin McCormack | SpotifyMARTIN'S YOUTUBE CHANNELMartin McCormack - YouTubeFACEBOOKFacebook...

Send us a textIn our media-saturated world, it is easy to overlook the many artists that thrive without labels, without big tours, without all the hoopla and soap opera intrigue that accompanies "success" these days.  These individuals thrive on their own terms, and such is the multi-talented songwriter, guitarist and band mate of several successful independent groups, Jim Tashjian.  Tashjian started out studying jazz guitar in university, which brought him into many different musical projects.  He drifted toward, pop and rock, drawn by the interest of songwriting.  Bands like District 97, Miss Remember, Storm Jameson are but a few of the music groups that Tashjian has had a commanding hand in.  This interview gave Jim a chance to showcase his talents, talk about his background and delve a bit into what he feels is success.  That success is firmly on his own terms, a good study for those of us who want to chart their own course in the music business.  You can follow Jim at https://www.facebook.com/jim.tashjian.Support the showWe are always grateful to have you listening to STRUNG OUT. Here are some important links:SUPPORT THE SHOW:https://www.buymeacoffee.com/MartyfineaKMARTIN'S WEBSITE:http://www.MARTINMcCORMACK.COM (note---you can get my weekly bulletin when you sign up on the list!)MARTIN'S MUSIC: Music | Martin Laurence McCormack (bandcamp.com)Martin McCormack | SpotifyMARTIN'S YOUTUBE CHANNELMartin McCormack - YouTubeFACEBOOKFacebook...

Relationship Stories - After years of broken promises, OP's boyfriend proposed with a "shut-up ring." Realizing the relationship was built on avoidance, OP called off the wedding—and began a long, painful journey back to herself.Become a supporter of this podcast: https://www.spreaker.com/podcast/lost-genre-reddit-stories--5779056/support.

Send us a textLeslie Beukelman is an artist that draws on his rural upbringing, her college education into jazz and performance and her first-hand entrepreneurial experience as a full-time working musician to be an expert on how to make a living at music.  Her songs are honest, rooted in her experiences with growing up, facing life challenges and being joyful in her art.  A great source of wisdom on how to take control of one's career and define your own success.  A mental and spiritual "must-have" for the working musician.  Her website is www.lesliebeukelman.net.Support the showWe are always grateful to have you listening to STRUNG OUT. Here are some important links:SUPPORT THE SHOW:https://www.buymeacoffee.com/MartyfineaKMARTIN'S WEBSITE:http://www.MARTINMcCORMACK.COM (note---you can get my weekly bulletin when you sign up on the list!)MARTIN'S MUSIC: Music | Martin Laurence McCormack (bandcamp.com)Martin McCormack | SpotifyMARTIN'S YOUTUBE CHANNELMartin McCormack - YouTubeFACEBOOKFacebook...

Music – Strength Of The Titans by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/5744-strength-of-the-titans License: http://creativecommons.org/licenses/by/4.0/

Relationship Stories - OP's best friend rejected him for years but kept sending mixed signals. When he finally moved on with someone else, she exploded, accused him of betrayal, and spiraled into chaotic outbursts despite repeatedly saying she didn't want him.Become a supporter of this podcast: https://www.spreaker.com/podcast/lost-genre-reddit-stories--5779056/support.

Send us a textLeslie Beukelman grew up in Sandwich, Illinois.  Her parents were musicians and perhaps her drummer mother (who was performing while 8 months pregnant with Lelsie) that instilled the desire to write and make music.  After a degree in jazz performance/jazz studies from Roosevelt University, Beukelman had a choice of a myriad places to bring her many talents.  She chose to stay in Chicago and tap into the diverse musical scene.  As a hummingbird is able to go from flower to flower, Beukelman can be found in many different musical venues and genres.  The Chicago Skyliners Big Band, fronting the rock band the Brite Lites or making beautiful harmonies in the three-piece woman's group the Oh Yeahs. Meet Leslie Beukelman, a songbird, a songwriter, a serious musician who is leaning into the working musician trade.  Her website is www.lesliebeukelman.net.Support the showWe are always grateful to have you listening to STRUNG OUT. Here are some important links:SUPPORT THE SHOW:https://www.buymeacoffee.com/MartyfineaKMARTIN'S WEBSITE:http://www.MARTINMcCORMACK.COM (note---you can get my weekly bulletin when you sign up on the list!)MARTIN'S MUSIC: Music | Martin Laurence McCormack (bandcamp.com)Martin McCormack | SpotifyMARTIN'S YOUTUBE CHANNELMartin McCormack - YouTubeFACEBOOKFacebook...

Send us a textKelli Owens Hutton has had it all--and has had it as well.  A musician, once signed to Atlantic Records, Owens Hutton found herself: midlife, middle class, midwestern and in crisis.  Raising a family and wondering what to do with her rock n' roll, she founded MomCore--an exploration of the famous saying "all men lead lives of quiet desperation" but from the perspective of the 21st century, holding-it-all together woman.  Real life and real issues come to roost on the soccer field, the playground, the house and the job.  Owens Hutton has crafted songs that are punk, angry, frustrated and can elicit a knowing wry smile perhaps in the simplicity her take on everyday reality.  And that reality is a battleground for relevance and sanity.  She knows her way around a guitar and is masterful in her lyric writing as well.  For any aspiring musician who thinks that cool can't drive a minivan, study what Owens Hutton is all about.  Her website is www.kelliowenshutton.com.Support the showWe are always grateful to have you listening to STRUNG OUT. Here are some important links:SUPPORT THE SHOW:https://www.buymeacoffee.com/MartyfineaKMARTIN'S WEBSITE:http://www.MARTINMcCORMACK.COM (note---you can get my weekly bulletin when you sign up on the list!)MARTIN'S MUSIC: Music | Martin Laurence McCormack (bandcamp.com)Martin McCormack | SpotifyMARTIN'S YOUTUBE CHANNELMartin McCormack - YouTubeFACEBOOKFacebook...

Send us a textKelli Owens Hutton walks the walk.  A Berklee College of Music graduate, she was signed with Atlantic Records for a while, pursuing the rock and roll dream.  Then life stepped in, (as life has a way of doing) and Kelli found herself married, middle-aged, middle class and a mother.   What's a rocker to do?   Find a genre, that's what.  From her experience as both an artist, a woman and yes, mom she launched MomCore.  MomCore is hard driving rock n' roll, with punk sensibilities delving into the everyday issues, such as that 12-year-old heading into the teenage years, or the mother-in-law hovering over your shoulder.  Kelli punches out two-minute, jangly guitar laden songs of angst, anger and telling-it-like-it-is music.  Her style (and her genre) not surprisingly resonates with a LOT of women out there.  And men like her style as well.  Working with Producer Liam Davis (also a Chicago-based artist) Owens Hutton put together the EP album Soccer Trophy.  Her style is brass and doesn't shy from the occasional f-bomb, like any good mom who has had it up to here with being everything for everyone 24/7/365. Kelli's website is www.kelliowenshutton.comSupport the showWe are always grateful to have you listening to STRUNG OUT. Here are some important links:SUPPORT THE SHOW:https://www.buymeacoffee.com/MartyfineaKMARTIN'S WEBSITE:http://www.MARTINMcCORMACK.COM (note---you can get my weekly bulletin when you sign up on the list!)MARTIN'S MUSIC: Music | Martin Laurence McCormack (bandcamp.com)Martin McCormack | SpotifyMARTIN'S YOUTUBE CHANNELMartin McCormack - YouTubeFACEBOOKFacebook...

Send us a textFive-time grammy nominee Liam Davis has not only spent his life with some pretty amazing bands, but he has also produced some pretty amazing bands and artists. Furthermore, he has also started teaching on unique techniquesfor song crafting.  This podcast is a must view/listen for anyone who wants to either learn how to write a song or pick up a few tips on how to make a good song even better.  You can contact Davis through his website www.LiamDavis.com for more information on producing and songwriting.Support the showWe are always grateful to have you listening to STRUNG OUT. Here are some important links:SUPPORT THE SHOW:https://www.buymeacoffee.com/MartyfineaKMARTIN'S WEBSITE:http://www.MARTINMcCORMACK.COM (note---you can get my weekly bulletin when you sign up on the list!)MARTIN'S MUSIC: Music | Martin Laurence McCormack (bandcamp.com)Martin McCormack | SpotifyMARTIN'S YOUTUBE CHANNELMartin McCormack - YouTubeFACEBOOKFacebook...

Strung Out (A Song of Redemption) MASTER by Bill Bennett

Send us a textLiam Davis is a multi-faceted musician, songwriter, and producer.  The Grammy-nominated musician not only is part of the Chicago band Frisbee, he has his own solo career. songwriting workshops and has been part of such projects as Justin Davis, The Diff, Part-time lovers and Soft Opening. His website is www.liamdavis.com.Support the showWe are always grateful to have you listening to STRUNG OUT. Here are some important links:SUPPORT THE SHOW:https://www.buymeacoffee.com/MartyfineaKMARTIN'S WEBSITE:http://www.MARTINMcCORMACK.COM (note---you can get my weekly bulletin when you sign up on the list!)MARTIN'S MUSIC: Music | Martin Laurence McCormack (bandcamp.com)Martin McCormack | SpotifyMARTIN'S YOUTUBE CHANNELMartin McCormack - YouTubeFACEBOOKFacebook...

Throw on your sweaty headphones and tune in for this week's episode of The Drop, featuring an elevator pitch for America's hottest new airline: Weight & See. We also hear about Thomas's trip to the Bahamas and Meg's behind-the-scenes look at the Brooks HQ out in Seattle. Then there's Robbe, who was just sifting through trash in Baltimore. Finally, we cover the Adidas Adizero Prime X 3 Strung, a super trainer sporting a 50 mm stack height in the heel.SPONSORSLAGOON PILLOWSWe use Lagoon to get our best sleep and you should too. Featuring super soft covers, Certi-Pur foam and customizable features, they'll help you find the best pillow for your sleeping style. Plus, they're owned by runners. Visit them and use the discount code BELIEVE for 15% off your first order: http://lagoonsleep.com/believeLMNTYou already know that LMNT has been getting us through Summer GRIT thanks to its blend of electrolytes and 1000 mg of sodium. It's a summer running necessity, and since you're a listener of The Drop, you get an 8-count LMNT Sample Pack with any purchase: http://drinklmnt.com/thedropINDEX0:00 - Intro3:10 - Lagoon Pillows, Carpeted Bathrooms, Antenna Headphones11:42 - Meg's Seattle Trip / Brooks HQ30:13 - Thomas's Bahamas Trip46:03 - "Weight & See": The Premier Airline from BITR52:37 - Robbe's GRIT Treasure Hunting59:04 - Adidas Adizero Prime X 3 Strung1:06:28 - Summer GRIT Leaderboards

My hometown newspaper, The Shepparton News, has undergone a remarkable change - it's now almost entirely a digital publication, switching from five print editions each week to just two. However, it will still be available to subscribers seven days a week via its digital editions.The change brings many benefits, particularly for those who follow this podcast, as all those stories the newspaper publishes about climate-related issues will be available in text-to-audio style and so can be included with the first being: "Locals encouraged to make the switch to electric living";"Transition to net-zero emissions";"It's Paradise Lost as Climate Change Remakes Europe's Summers";"Storms drench spots on hot, humid D.C. Saturday";"Trump Hires Scientists Who Doubt the Consensus on Climate Change";"Trump Is Gutting Weather Science and Reducing Disaster Response";"Trump's big toxic bill will cost America – and the world";"Trucks are big polluters, but can batteries make them cleaner?";"Strung out: Power line problems put nation's renewable rollout on backburner";"AI tool tracks early hurricane formation";"Climate Change Degrades Nutritional Value of Crops, Study Finds";"Millions of Tons of Tiny Plastic Particles Are Polluting the Ocean, Study Finds";"Ed Miliband would let a turbine farm destroy Brontë country. We need net zero, but at what cost?";"Science Moms lean into ‘humanness' to educate on climate change risk";"Adapting to climate decline";"Europe's Leaders Are Doing Something Disastrous";"Going it alone – how not to prepare for climate change";"Ancient WA rock art given UNESCO World Heritage status after 20-year campaign";"‘We don't want to be climate refugees': Torres Strait uncles fear for their islands and their people";"The solar battery rebate has arrived – here's how to steer clear of scammers";"Trump defends Texas flood handling as disaster tests vow to shutter Fema";"The Texas flood, Australia and the psychology of evacuation";"More than half of koalas relocated to NSW forest died in failed government attempt at reintroduction";"What's happened to Australia's green hydrogen dream? Here are 5 reasons the industry has floundered";"Air Pollution Can Speed Aging, New Study Finds, but Measuring Other Factors Is Challenging";"Climate activists victim of flakey arrests";"Weather tracker: supercharged storms hit Texas's ‘Flash Flood Alley'";"Deadly floods could be new normal as Trump guts federal agencies, experts warn";"‘A war of the truth': Europe's heatwaves are failing to spur support for climate action";"England's reservoirs at lowest level for a decade as experts call for hosepipe bans";"Jeff Hardy: Promoting Global Change for Sustainable Peace to Secure the Second Human Evolution";"Futurist says there are three stages of human evolution - and we're currently in the second phase";"We should be paying more for our energy. Here's why".

Today's crossword had bells, whistles, and even an EHRU thrown into the mix. It was by Brandon Koppy, however, so at no time did the quality of the puzzle ever dip below 5 squares on the JAMCR scale. Quite a few of the clues got our attention, including 30D, Strung rungs, ROPELADDER (that clue is just sooo much fun to pronounce!); 100A, Chore-o-graph, TODOLIST (brilliant!!!); and 55D, The old you?, THEE (tee-hee

Send us a textThere are singer-songwriters out there who are so good at making other singer-songwriters look so good that we forget how good they are.  Nora O'Connor is one such singer-songwriter. The folks she has toured and recorded with are a who's-who of Americana music: The Decemberists, Neko Case, and The New Pornographers.  But make no mistake, O'Connor is a singer-songwriter first and foremost.  Her latest album "My Heart" (we get to hear her perform the title track) is a wonderful compilation of songs that delves into her embracing her own talent, as well as the song.  She is a pure singer, a shy sort of human being as well.  Her ideas about songwriting and performing are a good study for anyone who wants to not only shine the spotlight on others but enjoy the spotlight for themselves every once in a while.  Her website is www.noraoconnormusic.com.Support the showWe are always grateful to have you listening to STRUNG OUT. Here are some important links:SUPPORT THE SHOW:https://www.buymeacoffee.com/MartyfineaKMARTIN'S WEBSITE:http://www.MARTINMcCORMACK.COM (note---you can get my weekly bulletin when you sign up on the list!)MARTIN'S MUSIC: Music | Martin Laurence McCormack (bandcamp.com)Martin McCormack | SpotifyMARTIN'S YOUTUBE CHANNELMartin McCormack - YouTubeFACEBOOKFacebook...

Alice just learned that a compliment she received years ago was plagiarized. And Doug believes she may have had a tryst with Cameron Crowe. Meanwhile, they learn some rather disturbing news about some of America's favorite clothing, footwear, and soda. Does everything have evil origins?*Other discussion topics may include:- Are there too many Sharknado movies? Or perhaps...not enough?- Edward Norton's potentially unique relationship with God - Just what IS a "magnificent fall"?- Non-German German Chocolate Cake...but plenty of other less good German stuff- Farting babies*Probably.

On this episode Jeremy asked your opinion on whether or not he should report building site workers he witnessed smoking joints on their lunch break. Is it possible to operate heavy machiney safely after smoking a joint?

Send us a textNora O'Connor has been a mainstay of the Americana music scene in Chicago, having toured and recorded with The Decemberists, Neko Case, and The New Pornographers, to mention a few.  She is also a prolific songwriter and musician.  Her latest album, "My Heart" goes for the heart with an amazing array of finely crafted tunes.  Nora's voice is honest and moving, her ability to deliver a song puts her right up and in front of an audience--a place she has definitely earned and is keeping.  Her website is www.noraoconnormusic.comSupport the showWe are always grateful to have you listening to STRUNG OUT. Here are some important links:SUPPORT THE SHOW:https://www.buymeacoffee.com/MartyfineaKMARTIN'S WEBSITE:http://www.MARTINMcCORMACK.COM (note---you can get my weekly bulletin when you sign up on the list!)MARTIN'S MUSIC: Music | Martin Laurence McCormack (bandcamp.com)Martin McCormack | SpotifyMARTIN'S YOUTUBE CHANNELMartin McCormack - YouTubeFACEBOOKFacebook...

Send us a textTed Russell Kamp is a sing-songwriter, based in Los Angeles.  He also produces many acts and is a one-man powerhouse in the Americana music scene. In this second interview, Martin talks to Ted about his song crafting, advice for those new to the independent music business and some sage advice about how to keep afloat and your wits about you in one of the most challenging, but rewarding gigs out there.  His website www.tedrussellkamp.com.Support the showWe are always grateful to have you listening to STRUNG OUT. Here are some important links:SUPPORT THE SHOW:https://www.buymeacoffee.com/MartyfineaKMARTIN'S WEBSITE:http://www.MARTINMcCORMACK.COM (note---you can get my weekly bulletin when you sign up on the list!)MARTIN'S MUSIC: Music | Martin Laurence McCormack (bandcamp.com)Martin McCormack | SpotifyMARTIN'S YOUTUBE CHANNELMartin McCormack - YouTubeFACEBOOKFacebook...

Victor Varnado joins us on the second half of the podcast this week. Victor is an actor, comedian, humorist and, of course, a New Yorker cartoonist. We talk with Victor about his background, being funny and we take a deep dive into A.I. and it's use in creativity.You can learn more about Victor at his website:https://supremerobot.comHis Anti-Racism Activity Book can be bought here:https://antiracism.onlineHis current podcast, WikiListen:https://podcasts.apple.com/.../wikilisten/id1601336806And, because we all want to relive the golden days of the recent pandemic, here's his "How you doing your Quarantine" music video:https://www.youtube.com/watch?v=iTcBC6NfXc0On Part 1 of the episode, we discuss the current contests:Winning captions for New Yorker contest #941 (Brewbeck's Take Five).Finalists for contest #943 (Fur-niture Showroom).Current New Yorker contest #945 (Strung-out Reporter). We also talk about our favorite cartoons from the current issue of the New Yorker.You can buy original New Yorker cartoon art at Curated Cartoons:https://www.curatedcartoons.comDig deep into the New Yorker cartoon caption contest data at:https://wordsbelow.app Send us questions or comments to:  Cartooncaptioncontestpodcast@gmail.com

Note from Jeannine: Christina's story is one of my favorite all time episodes of the show. Just an incredible story of strength and resilience. This is an encore run of her episode, new episodes return next week after my TedX Talk! Thank you for being patient with me, I love you guys!TRIGGER WARNING******sex trafficking, domestic abuse, assault, SA and pregnancy termination My conversation today with Christina Garofalo will have you both laughing and crying. Christina is a survivor in the truest form of the word. I was blown away by her vulnerability, authenticity and the strength she has shown in escaping the world she was trapped in, making it back to her hometown and family in San Diego AND tapering down from an incredibly high dose of methadone (170 mL). Christina now has a sponsor, works steps, goes on twelve step retreats and does EMDR therapy - she has worked so hard to find healing, peace and safety and I am personally so proud of her.Connect with Christina on ⁠Instagram⁠Connect with Christina on ⁠TikTok⁠DM me on ⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠Message me on ⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠Listen AD FREE & workout with me on ⁠⁠⁠⁠⁠⁠⁠⁠Patreon⁠⁠⁠⁠⁠⁠⁠⁠ Connect with me on ⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠Email me chasingheroine@gmail.comSee you next week!

Scott from The Softer Side joins the show to discuss Twisted By Design, the 1998 album by Strung Out.https://thesofterside.bandcamp.com/

On this episode Mario called for drug addicts to be offered money to be steralised - to prevent them bringing babies into the world. We heard the horrific story of one woman who snorted cocaine every night as her child lay asleep beside her.

In Episode 192 of the Pu'u Muay Thai Podcast, we sit down in-person at Teep Studios in Scottsdale, AZ with a very special guest: Jason Cruz, the legendary frontman of the punk rock band Strung Out and a dedicated student at Pu'u Muay Thai Ventura. Jason was in town for the Punk in the Park festival in Chandler, AZ, but made time to talk about his powerful journey through music, fighting, and finding purpose.At 51 years old, Jason shares how Muay Thai has transformed his life—and how discovering it with his wife during COVID gave them a shared mission of empowerment, discipline, and community. From touring the world with his band to stepping into the ring at our Eat Sleep Teep event, Jason's story is a unique and deeply authentic one that bridges punk rock and martial arts like few can.Topics include: 

Paul shared details on the Lawrence Toby Sande auction this Saturday April 19th. Toby is moving to town and is downsizing and selling the home and out buildings and more.

Watch on YouTube https://www.youtube.com/@SavBrymer Don't forget to subscribe to the podcast for free wherever you're listening or by using this link: https://bit.ly/mythoughtsexactlywithsavannahbrymer If you like the show, telling a friend about it would be helpful! You can text, email, Tweet, or send this link to a friend: https://bit.ly/mythoughtsexactlywithsavannahbrymer Follow Savannah on IG: @savannahbrymer Follow Savannah on Twitter: @savannahbrymer Learn more about your ad choices. Visit podcastchoices.com/adchoices

Relationship Stories - OP ended her relationship after her ex-delayed commitment, despite fertility concerns. Now dating a man eager for marriage, OP faces her ex's plea to reconcile, leaving her conflicted.Become a supporter of this podcast: https://www.spreaker.com/podcast/lost-genre-reddit-stories--5779056/support.

Join Nique and Ress in a breakdown of the perils of modern dating and 'being strung along' . Ever felt like you're in a relationship limbo? Or maybe you're the one dangling the strings? They dish out personal anecdotes, including unsentimental breakups, being the safe harbor for someone else's emotional baggage, and why potential is a trap. From the complexities of online dating to the illusion of endless options and the downfalls of being a placeholder. Buckle up for insights, laughter, and the harsh truths about why you should cut the string—either way.

ERIN KHAR is back on Patreon! She talks about her recent spiral into depression and how she has gotten out of it - plus a sort of scintillating sort of gross 'Ask Erin Question' and much much more on this brand new teaser of the dopey show! PLUS she talks Rick James and Elliott Smith and more! MORE! MORE!Patreon - www.patreon.com/dopeypodcastDOPEY LOVE TICKETS - https://publictheater.org/productions/joes-pub/2025/d/dopey-podcast-live/This is what AI says: 

This week we are covering what it feels/sounds like when the Moon is square to Mercury    Hillary Hindi Asc Gemini, Sun Pisces in the 10th, Mercury in Aquarius in 9th, Moon in Taurus in 12th   Sami Slimani Asc Cancer, Sun Pisces in 9th, Mercury in Aries in 9th, Moon in Capricorn in 6th   References https://www.astro.com/astro-databank/Hindi,_Hillary https://www.thehillywoodshow.com/our-story https://www.astro.com/astro-databank/Slimani,_Sami https://de.wikipedia.org/wiki/Sami_Slimani

If they can't string some Ws, we're all being strung along. Hear award-winning columnist Dejan Kovacevic's Daily Shots of Steelers, Penguins and Pirates -- three separate podcasts -- every weekday morning on the DK Pittsburgh Sports podcasting network, available on all platforms: https://linktr.ee/dkpghsports Learn more about your ad choices. Visit megaphone.fm/adchoices

Y'all are going to LOVE today's episode. I spoke with Somatic Sobriety Coach, Elan Hardy. Before she was ten years old, Elan had smoked weed and taken mushroom, which was common in the culture in which she was raised - traveling with the Grateful Dead as a child and teenager. Her early drug use escalated into opiate addiction as an adult. After getting sober, Elan discovered somatic therapy is a form of body-centered therapy that looks at the connection of mind and body and uses both psychotherapy and physical therapies for holistic healing. In addition to talk therapy, somatic therapy practitioners use mind-body exercises and other physical techniques to help release the pent-up tension that negatively affects a patient's physical and emotional wellbeing. Elan is certified in Somatic work and is also an addict in recovery. Combining her training and lived experience, Elan specializes in somatic and sobriety coaching. Elan is also offering all of you a free resource, simply DM her and she will send you free somatic exercises designed specifically for those in recovery. As we approach the New Year, I cannot recommend Magic Mind enough as a part of your tool kit to achieving your 2025 goals. Carefully crafted over 10+ years with the help of our scientific advisory board, Magic Mind is a potent elixir infused with clinically studied ingredients that work together to fully optimize your daily mental performance, stress, and energy. You guys get 20% off a month's supply or 48% off the first month of subscription using this link. and code: HEROINE20 Connect with Elan on Instagram DM me on ⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠ Message me on ⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠ Workout with me on ⁠⁠⁠⁠⁠⁠Patreon⁠⁠⁠⁠⁠⁠ Laugh with me on ⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠ Email me chasingheroine@gmail.com See you next week!

Get out of here Ryan Reynolds! Ow! Hey, knock it off. I will throw Blake lively at you! You're going to throw my ex wife at me? Or is that his current wife? I thought he was married to Anna Farris? Maybe I had them mixed up. Or—did I get the order wrong? No, literally I thought it was the same girl. Basically. No, no—they're very different… on the inside. That's a low blow. It's okay, if I aim below the belt, that may be exactly at eye level. I will throw Anna Farris at you! Blake lively sounded better. Goddammit. Let's just shoot both takes and see which flows better. Okay. I will throw Black Lively at you! You're going to throw my ex wife at me? She is very small and aerodynamic. You don't think I know that? Gross! You're gross! Ow! Stop throwing things at me! The next thing is— No ex-wiving! This is high stakes. Damn, do I technically have to get all three of them to sign off on this? I don't know—the legal technicalities. Why not, you're a lawyer? I am. —?! Yes. varying degrees of sincerity Do you want to play with sharks? Hm–what? What's that? Do you want a bite to eat? I'm flying, flying Gotta learn how to lie, kid I'm dying, i'm dying you know I've got my eye on you Everything I need is in this Shower scene I dare you I do care, dont you know, I don't want to see you there no more I'm nowhere, nowhere to be found Look where I found you In the dark, sir Yes, you are off Awful, Swimming with the sharks and stuff Just another poet Just another broken heart a song or something With my palms up And my psalms are omens All my palams are Swimming with the sharks, mom All my thoughts are Swimming with the sharks She's couvered in turquoise, aquamarine; her choices and voice are all ive seen of this Suffering somewhere and surfing the Thing I need Keeping me peopleing “People gon people, though” Go, GO! This is bad. This looks bad. No. Green is good. (Finds One Dollar) Oh look! Money! Try this guy now! Uh, uh ! no way! I'm way past that! What! You are! Yeah! [BLEEP] That was an accident. F[BLEEP] Damn, man. How long have you been like this (He takes a drink of whiskey and shrugs, grimacing) Forever. “ TheJohn Oliver effect". Ambivalence - Apparently (what I woke up in my head with this morning Most of my dreams were just horrible night mares and waking in cold sweats To ovens still heartbroken What inthe world, i wonder But i don't have to, lover Mother, brother, friend another world just to worry over Haven't you heard? It's a world of absurdatites, Listen, Being assertive is part of promotion It passes, this Ambevalice or however you spell it I'll come back to correct it in my Google documents But that's not the words To this song? I don't want no more money I just want to run off into the sunset With a surfboard And only return here Once I can afford to love The shops on madison avenue Not in some person's pocket, But because I'm so astonishing to someone I actually bought it And what if IF is where I found him, actually If this and If that The infinite man in the hat But i just brought the rabbit out Rabbit, I Have a couple habits planted On this planet He's a madman, you know As I am Yes, I am I am a madman you now NAM DAMA MI You know me, I was 16 16 16, 17 Patiently waiting to make it To break into industry I should have all of the world in my hands On my shoulders, you know Was the Grammy, and Emmy I asked uncle Tony, come over He warned me for Oscar, “You don't really know that man” Show me, I wanted to wonder into the silver screen It really was me, Before shows became talkies The Golden Ones Oh The Golden Globes Peabody Please God, A job, to afford a new body I want to be Model Hot Model One Teslas And Teslas, The best Exstacy Ive ever tasted Besides those quad stacks; Super Marios, yo I was playing the game CAuse he Triple dog dared me A Dog, I was so lost in love With my own stockholm syndrom I was an apocalypse, but Happy life, happy wife Happy knife in my back Cause I can't love a man Besides All in my head Blow me off of this earth with that cannon, would ya– Would you blow me bubblgum bubbles out of your Bazooka I was just wondering what kind of nuts you were Probably cumsluts, bananas, a And master producers Composers, And actors, Establishment Haven't been black Since i found out its bad to be Back in the rap industry, however At my bathtub briefing They could see us coming From a mile away I just keep running Runing my day, yep Was the thing I created I hated her Then, I Maiden Voyaged this Bon, voyage, bitch You've been on the Titanic since I decided to sink it What you think? All of the women and children fit? That's just a fairy tale I don't need this, till i get to Israel And I dn't think he's real, but I'm real good at Hurting myself HUrting myself Hurting myself To hell with it, just make me a man Or just Make me a mandate I passed all this under the table My management Man is Damaged Why am I haunting you, Ali Cause, trust me It's up from her Up from here Up from Up there Now youre scaring me I've been suicide for days and contemplating Not suicidal But suicide it'self Its not my idol or an icon, Not a role model, impossible ImPOSTTIBLE MEANWHRiLE: CAT (Crying) –Moo! HI, Cat. I'm so stuck in this nonsense of “Social order” and I'm supposed to So stuck in this existence Of Diseveled Hellcat Welcome Patrick Stuck under the arches of McDonalds With a Picket line Made of picket fences and dissinstrists Diminishing wits And [The Festival Project™] https://en.m.wikipedia.org/wiki/Primetime_Emmy_Awards https://en.m.wikipedia.org/wiki/Peabody_Awards https://en.m.wikipedia.org/wiki/Primetime_Emmy_Awards https://en.m.wikipedia.org/wiki/Time_100 https://en.m.wikipedia.org/wiki/Time_100 https://en.m.wikipedia.org/wiki/Christ%27s_College,_Cambridge https://en.m.wikipedia.org/wiki/Christ%27s_College,_Cambridge https://en.m.wikipedia.org/wiki/England https://en.m.wikipedia.org/wiki/England https://en.m.wikipedia.org/wiki/Stephen_Oliver_(composer) Do you smell–does anyone else smell eggs, right now? No, Patrick. Are you sure? Positive. KANDI Fuck, it's positive again. PATRICK Well, have another. (he take a long drag off of is cigarette, handing KANDI another pregnancy test.) KANDI How many do you want me to do? PATRICK All of them. KANDI is petite, about 5'0 to 5'3, Pacific Islander and/or Asian of darker complexion, with long raven hair, and wide chestnut brown eyes, between 20 and 25 years old. She is well dressed and feminine, however, with a somewhat staggering eloquence, sometimes quite crass, uneducated–but quick witted, often funny, and very, very beautiful. She is typically relaxed, however, has the tendency to panic as a natural reaction to PATRICK'S erratic gestures and mood swings; She acts as his primary comforter and companion,. You know, I actually can't see this show happening Who has seen it? Martians, or, maybe just– God, I guess. That's what you got out of that. I don't know, God! Atypical, this Conformity to confirmation Servitude and service Disconnected from astonishments Abolishing the altar Of the alter I'm so Sorry for this –Missed Connections He took the 4 I took the 6 Missed Connections I wasn't set up to talk that day He was though I did good enough For impressions Selective, this one Damages I'm sorry for this Missed Connections I'll never make it in this industry –Not with that attitude And not with that hat one It's something and somewhere between Honesty and Lost in the world Trying not to suffer for the plot of The literal Star Wars The literal definition of Punch me in the face and ruin my world I guess God wasn't watching On 4/40 Or was Very drunk, then WOAH. WHAT'S HAPPENED TO MY EYES. You're telepathic, I gathered, however Synthtic Under static cling and Establishments Multicamera facets And facinations with women Habits and inclinations, then Well, This is Synethetics, Fuck it. I L0VlE IT. IS THAT WHAT LOVE IS?! That's what love looks like In manhattan Hopped up on a One day fast Two You fucked up Three You fucked up Who loves him For punching me? Someone, Cause that brought you up a bit, Didn't it? Is it up or is it just endless death and a torture chamber At the chamber of commerce Without my kid? Then again… I don't envy this, at all Was just a dream, you know My dreams have all become Derilicts Fuck DIllon Francis (I should have, when I had the chance!) When was THIS? I like your outfit? I just have No other plans But just to Catch this JELLYFISH Capture this! (she laughed at the dancer) Phones, up, kids! I can't possibly be famous! Yesterday you said: FUCK THIS NIGGA Today it's JIMMY FALLON You know what. I'm okay with this. WHAT. I never said that. Okay, Jim. You can come down, now. That was a long day, you know Up in a harness Suspended But it wasn't that part The hardest Would only be Some caricature Of aperture The departure from Humanity as God CAuse you wound up in the Strung up Kite I hung up When i uncrossed all my crosses Then Just gave up on [The Festival Project ™ ] Talking to God about What the fuck is wrong with My sense of smell And my Hell is just Never ever being Trying not to talk to Cannot say this name if I was paid to But i fucking hate you JImmy Fallon https://youtube.com/shorts/_go5tL7Jw2w?si=Ffz6Y1eKU2_SugtG This, What happens When you're a rockstar spirit in the cost of sobriety And all you want is just A lover to What is that? Love, though? What is that? “The pollution in the ocean is the solution to your problem” –the aliens https://www.youtube.com/watch?v=ZSviZnbAv8M Now i fantasize about these guys, Knives in my backs, an iPod nano And buying a pager Wait till God makes good on my wages For these pages I just can't these days I just can't Flag Flag X The Germs Danny Elfman, Oingo Boingo Anthony was beautiful, Reminds me of my Johnny Boy I've been californiacated I've been mesmerized by Love and drugs And janes addiction Fornication, rock and roll Another genre, Mom is lost, you guys And momma won't come home The smiths Gangs of four Souzie sue? I don't want to know you like that, man I don't want to worry, on the backpage Didn't i just come back from the Blacklands? Back then, it was a Flatline It was a backstage fire It was a heart attack, That It was a heart attack that killed that man Watch your heart, but don't Whatever you do Watch this show {Enter The Multiverse} [The Festival Project] Hey . Hi, Johnny Depp. You can =come join our club, if you want. And what club is that? It's “Cribbage Club” We have hats Hats. On Yahtchs. The Old Men Sittiing around the table drinking What is that? It's mustard. Just– Really? Yes. 30 Rockefeller Plaza's studio 8H This is why I don't trust you! Don't trust me! You don't follow the code! There's a code! You wrote the code! Oh, that's–that sucks. Everything sucks. Everything sucks. Everything sucks, that's right. EVERYTHING SUCKS CAUSE OF YOU ADAM, YOU RUINED IT ADAM RUINS EVERYTHING RAYMOND, I LOVE YOU EVERYBODY LOVES RAYMOND CHRIS, I [CENCORED] HATE YOU. EVERYBODY HATES CHRIS EVERYTHING SUCKS CAUSE OF SUNNI BLU Or really just I HATE U good . keep hating then. i'mma go get my dick sucked By a supermodel At the supermarket, And then be a superhero And put that shit on an album, You know what? keep fuckin hating keep fuckin hating But you know what somebody's gonna LOVE it And that's why youre over here All fucked up Cause i love you But FUCK you No fuck U keep hating 111

Pretty Tied Up (Hanging Puppet Side Down).

Listen as Bleu discusses the latest Episode of Season 19. Robyn tires to replace Christine as Mykelti's Mom and Kody tries to convince himself that the family is the problem; and they couldn't possibly be enjoying life without him.

(If listening through headphones, the first 16 minutes are difficult to hear Scuyler, but then it evens out - stay with me!!) Part One of my husband's incredible story. Scuyler grew up in an affluent area of Northern California, spending summers at the family home in Nantucket, surrounded by wealthy families and privilege. A gifted athlete, a knee injury at sixteen threw his entire world off course. Strung out on oxycontin and kicked out high school his senior year, Scuyler's world completely crumbled. By the time he was 18 he was doing his first jail term and had a felony strike in California. Extradited at 22 from Florida to California by US Air Marshals and accused of homicide didn't stop his escalating drug use. Part One brings us to Scuyler turning 29 and beginning a new treatment center in San Diego, the year he also met me. I REALLY want to hear what you guys think of my husband's episode...I am BEYOND proud of him and his vulnerability and strength in this episode. ⁠DM me your thoughts on Instagram!⁠ ⁠Say Hi on TikTok!⁠

What can I type that will make you forgive us for being gone AGAIN?! Honest - the world was conspiring against us recording! Strung-out schedules and cooties all over the place made it impossible - but the great comeback has begun! So, sit back, relax, and muse with us on just what exactly the point of Christianity is in this week's episode. We love you all - thank you for being our reason to record in the first place! Got a question you want answered or a topic you'd like to hear Townsend and Preacher Man muse on? Let them know at mtpm.podcast@gmail.com !Intro music: "Royalty Free Music from Bensound" 

Jordan Burns played drums in Strung Out until 2018. He was part of the OG group that formed Pulley and played with them til 2000. He's been featured in DRUM! and Modern Drummer magazine. He owns a long time running motocross company called Moto XXX and has been featured in Racer X, Dirt Rider, Motocross Action, Freerider, Cycle News, etc.  I got him on the Skype and this is what we chat about: MotoXXX Learning how to play the kick with his left foot The intensity of the LA scene What he thought of Strung Out when he first saw them play Propaghandi His relationship with Jim Cherry Twisted by Design The formation of Pulley What lead to him leaving Pulley Which band did he like being in more And a ton more Feel free to support  the podcast for as little as $1 a month through Patreon

Hey, due to some behind-the-scenes stuff the new episode will not be out this week. We appreciate the patience and understanding, and we'll have it out to you as soon as we can! In the meantime, we hope you'll enjoy this past Skulltalkers for the episode Strung Up, featuring the Skulltender's first adventure in the Cryptbreak Woods, unlocked from our Patreon.

In Episode 2 of “Buy That Guitar,” presented by Vintage Guitar magazine, host Ram Tuli is joined by David Davidson of Well Strung Guitars to discuss the most-valuable guitars in today’s market. Collectors looking to buy iconic production-model guitars can expect to pay more than $100,000. In fact, the most-expensive guitar (Gibson’s ’58 Explorer) is now valued at more than $1 million. Of the more than 10,000 guitars listed in The Official Vintage Guitar Price Guide, two percent currently sell for more than $50,000, five percent sell for greater than $20,000, and 11 percent are valued at more than $10,000. Corrections: The late-’50s Explorer doubles in price every 6.6 years. Links: https://wellstrungguitars.com Sponsor: Oxford https://oxfordguitarsupply.com Subscribe to our "Overdrive" newsletter for the latest happenings at Vintage Guitar magazine: https://www.vintageguitar.com/overdrive Please like, comment, and share this podcast!

SHOCKING video shows former NBA player Delonte West completely STRUNG OUT on the streets in the hood

After going to rehab 21 times with no success, Julia Barker was strung out on meth and heroin, working in sex work, living in a trap house - absolutely alone and terrified. After a particularly traumatic event, she turned to another addict in their community and the two began a relationship in addiction - that has lasted to this day. Now both in recovery and the parents to a beautiful daughter, Julia and Ryan have completely rebuilt their lives together in sobriety. Connect with Jeannine on TikTok Connect with Julia on TikTok Join our Nod Pod Community Private Facebook group! --- Send in a voice message: https://podcasters.spotify.com/pod/show/jeannine-coulter-lindgren/message

In this episode Toby chats with Jason Alexander Cruz of Strung Out! They chat dropping out of high school, starting Strung Out, straight edge, experimenting with drugs, skating, family, tattooing, their new album, surfing, Palmdale, painting, touring, children's book, therapy and parenting.  Please remember to rate, review and subscribe and visit us at https://www.youtube.com/tobymorseonelifeonechance Please visit our sponsors! Athletic Greens https://athleticgreens.com/oloc Removery https://removery.com code TOBYH2O Liquid Death https://liquiddeath.com/toby

Welcome boils and ghouls, to a tale of...washed up movie stars? This week, Courtland and Brandon watch the fiftieth episode of Tales from the Crypt and discuss yet another evil puppet, pointlessly complicated murder plots, and wonky animatronics. Linktree - https://linktr.ee/PrivateIsland Become a Patron - Patron.com/privateisland Follow us on Twitter - https://twitter.com/UANPod Laugh with us on Instagram - https://www.instagram.com/upallnightpodcast/ Connect with fans on Discord - https://discord.gg/2RAp2af

Submit a break up story/couple: https://forms.gle/ATdabGFwyy7tEx3W8 - Follow the podcast! - Abby's IG: https://www.instagram.com/theabbymurphy/ - Abby's TikTok: https://www.tiktok.com/@theabbymurphy/ - The Break Up Break Down on IG: https://www.instagram.com/breakupbreakdownpodcast/ - Submit Feedback: https://forms.gle/jZcG5YPcBqPyNxEz9 - Learn more about your ad choices. Visit megaphone.fm/adchoices

Aubrey is starting to feel resentful that her shack-up baby daddy doesn't seem interested in marrying her. Email questions or comments: drlaura@drlaura.comParticipate on the radio program: call 1-800-Dr-Laura / 1-800-375-2872 or make an appointment https://www.drlaura.com/make-an-appointment. Follow on social media:Facebook.com/DrLauraInstagram.com/DrLauraProgramTwitter.com/DrLauraProgramPinterest.com/DrLauraYouTube.com/DrLauraBecome a Dr. Laura Family Member: https://www.drlaura.com/ See https://www.drlaura.com/privacy-policy for privacy information.

In this episode, I talk about what to do when someone gives you the excuse "I'm so busy." I talk about what it really means and how to avoid being strung along by someone who's not truly ready or interested.Want more? My book "That's Bold of You" is available on Amazon.Instagram: @case.kenny