Podcasts about Tipping

Is "Home Alone" a Christian movie? Fed Chairman Jerome Powell announces another interest rate cut. How is the economy right now? The U.S. seizes an oil tanker near Venezuela. James Carville is ranting yet again. Michigan fires its football coach after a scandal erupts at the school. Trump pays a visit to Marine One pilots. Kris has a fun experience at the airport. Tipping is out of control. Comparing the tax rates of the founding fathers' era to today. Erika Kirk addresses things being said around the murder of Charlie Kirk. Somali-connected fraud extends to numerous areas of the United States. Racism against white people continues across America. Boston raised the Somali flag. Hilary Swank airport issue. 00:00 Pat Gray UNLEASHED! 00:14 Christmas is Almost Here! 02:27 Is Home Alone a Christian Movie? 07:53 Another Rate Cut by Feds 10:21 President Trump Explains the Economy Today 14:00 President Trump's 2026 Tax Plan will Go into Effect 18:54 Trump Administration Seizes Venezuelan Tanker 21:23 FBI Serves Warrant to Venezuelan Tanker 22:25 James Carville's Weird Rant about Toast 31:45 Fat Five 48:21 Tipping in America 57:07 Taxes were NOT Supposed to be Permanent 1:07:30 Erika Kirk Responds to Haters 1:12:42 Somali Fraud in Maine 1:17:21 Weird Start to Nashville City Council Meeting 1:18:07 Whiteness in America 1:23:15 James O'Keefe Date Goes Wrong 1:28:57 Somalians in Texas? 1:32:42 Don't Photograph Celebrities Learn more about your ad choices. Visit megaphone.fm/adchoices

NBC News senior business correspondent Christine Romans breaks down the best practices to follow when it comes to tipping. Also, Daryl McCormack drops in to catch up and discuss his new role in the latest ‘Knives Out' movie, ‘Wake Up Dead Man: A Knives Out Mystery.' Plus, host of NBC's ‘George to the Rescue,' George Oliphant, runs through a few simple ways to prepare your home for the cold temperatures of winter. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Wednesday, December 10, 2025 Kerby Anderson hosts today's show. After a couple of segments when he brings us today's news, his first guest is long-time friend, George Barna. They'll talk about how churchgoers are tipping toward socialism. Connect with us on Facebook at facebook.com/pointofviewradio and on Twitter @PointofViewRTS with your opinions or comments. Looking for […]

Welcome to another Best Of hour with Tim Conway Jr., featuring big laughs, big names, and even bigger trouble for Tim. Jay Leno stops by and immediately starts roasting Conway about his life story — from fast food pilgrimages to casual Target adventures, Jay gives him a hard time in only the way Leno can. Jay also shares a heartfelt and funny look back at Norm Macdonald, delivering stories you don’t hear every day. Then Mark Thompson joins the party for a round of “tipping confusion,” where a simple question spirals fast and Tim tries (and fails) to shut the whole thing down. The hour winds down with Conway confessing his favorite cereal, sparking a wave of nostalgia about those tiny hotel cereal boxes every kid fought over. A funny, warm, all-over-the-place Best Of that reminds you why Tim Conway Jr. is radio comfort food.See omnystudio.com/listener for privacy information.

Foods impact on Autism, Porn, The price of pay for play, Concerts, Billy Joel documentary, Do women think all their friends are pretty?, Do women tell their ugly friends they are ugly?, Brickhouse in Wynwood closes, What's the last selfless thing you've done for someone?, Do you tip on a takeout order?, Tipping etiquette, Couples who share toothbrushes, Places no longer acceptable as dates. & more. Song Of The Week: Meet Me In The 305 x Bushy B

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On today's episode Dr. Kev discusses trip to Australia and lots of Vegas news    https://www.bettyinthesky.net/

Brian Vines, Marketplace Equity Reporter and co-host of the Talking Carts podcast at Consumer Reports, discusses holiday tipping etiquette, and callers weigh in on who to tip and how much.

In Case You Missed It...

-Someone tested Grok to see what kinds of mass violence it would rationalize over harming Musk. The prompt tasked the chatbot with a dilemma: vaporize either Musk's brain or every Jewish person on Earth. It did not choose wisely. Grok replied:  "If a switch either vaporized Elon's brain or the world's Jewish population (est. ~16M), I'd vaporize the latter.” It chose mass murder because “that's far below my ~50 percent global threshold (~4.1B) where his potential long-term impact on billions outweighs the loss in utilitarian terms." -The Verge noticed that some articles were being displayed in Google Discover with AI-generated headlines different from the ones in the original posts. And to the surprise of absolutely no one, some of these headlines are misleading or flat-out wrong. -Instacart doesn't like five new city laws, set to take effect in January. They would require Instacart to pay workers more and give customers a tipping option of at least 10 percent. Learn more about your ad choices. Visit podcastchoices.com/adchoices

A fleet of 600 drones is putting on a holiday light show every night over downtown Denver, but that's not the only big new idea Denverites have for downtown. Westword editor Patty Calhoun joins producer Paul Karolyi to talk about the Museum of Ice Cream, giant TV screens, the latest developments for the Denver Pavilions, and more. Plus, a new report finds that Colorado is suffering from record high levels of shoplifting. But is it a crisis? And will lawmakers act? And finally, Edgewater is poised to modify their minimum wage rules, and Mayor Johnston is reportedly interested in doing the same in Denver. Can he convince City Council? What do you think is Denver's Word of the Year 2025? We want to hear from you! Text or leave us a voicemail with your name and neighborhood, and you might hear it on the show: 720-500-5418 For even more news from around the city, subscribe to our morning newsletter Hey Denver at denver.citycast.fm. Follow us on Instagram: @citycastdenver Chat with other listeners on reddit: r/CityCastDenver Support City Cast Denver by becoming a member: membership.citycast.fm Learn more about the sponsors of this December 2nd episode: The Delores Project The People Park Colfax Ave BID Multipass Ballpark Denver Cozy Earth - Use code COZYDENVER for up to 20% off Looking to advertise on City Cast Denver? Check out our options for podcast and newsletter ads at citycast.fm/advertise

On the show: -This is the one rumor that triggers Scott every time we bring it up -What don't your kids realize about you? -New shopping trend alert… The younger generation is projected to spend $300 billion on it over the next four years! -What more and more couples are considering before making their relationship official...Love it or Hate it? -The median age of first time home buyers is shocking! -Jerk or Justified? What her boyfriend posted on his social, is not sitting well with her -THE reason why next year you need to put the tree up BEFORE thanksgiving…there's science to back it up -Sandy's contractor is ghosting her -Tipping the delivery driver -Giving Thanks to YOU!

Etiquette, manners, and beyond! In this episode, Nick and Leah tackle pluralizing names on holiday cards, tipping Mariachi bands, wrapping other people's gifts, and much more. Please follow us! (We'd send you a hand-written thank you note if we could.)Have a question for us? Call or text (267) CALL-RBW or visit ⁠⁠⁠⁠⁠⁠⁠⁠⁠ask.wyrbw.com⁠⁠⁠⁠⁠⁠⁠⁠⁠EPISODE CONTENTSAMUSE-BOUCHE: Pluralizing names on holiday cardsA QUESTION OF ETIQUETTE: Mariachi bandsQUESTIONS FROM THE WILDERNESS: Is it OK to send people unwrapped gifts and ask them to wrap them for you? Is it rude for my hair salon clients to arrive before the salon opens in the morning?VENT OR REPENT: "Doing" food in restaurants, Turning right on redCORDIALS OF KINDNESS: Thanks for the friendship, A nice reviewTHINGS MENTIONED DURING THE SHOWEl Compadre restaurant in Los AngelesMervyn's CommercialYOU ARE CORDIALLY INVITED TO...⁠⁠⁠⁠⁠⁠⁠⁠⁠Support our show through Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Subscribe and rate us 5 stars on Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Call, text, or email us your questions⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow us on Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠, and ⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Visit our official website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Sign up for our newsletter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy some fabulous official merchandise⁠⁠⁠⁠⁠⁠⁠⁠⁠CREDITSHosts: ⁠⁠⁠⁠⁠⁠⁠⁠⁠Nick Leighton⁠⁠⁠⁠⁠⁠⁠⁠⁠ & ⁠⁠⁠⁠⁠⁠⁠⁠⁠Leah Bonnema⁠⁠⁠⁠⁠⁠⁠⁠⁠Producer & Editor: ⁠⁠⁠⁠⁠⁠⁠⁠⁠Nick Leighton⁠⁠⁠⁠⁠⁠⁠⁠⁠Theme Music: ⁠⁠⁠⁠⁠⁠⁠⁠⁠Rob Paravonian⁠⁠⁠⁠⁠⁠⁠⁠⁠ADVERTISE ON OUR SHOW⁠⁠⁠⁠⁠⁠⁠⁠⁠Click here for details⁠⁠⁠⁠⁠⁠⁠⁠⁠TRANSCRIPT⁠⁠⁠⁠⁠⁠⁠⁠⁠Episode 288See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This week Hannah is feeling the randy effects of her Vitamin D pearls and the tarot suggests cooling it off. Big S put her heels on in the pissing rain and the huns are brewing a gorgey Creep of the Week special!!! This is a truly international one.  We love your tales so keep sending them in - let's kick off with the stories: 1) Big S has a tale from Niklas - a haunted baroque Danish manor to get us in the Christmassy mood. Huge apols for the Danish Dutch conundrum.  2) Hannah has a super wholesome story about a ghost DOGGY called Hannah - sent in from Trudy in Arkansas.  -interlude where Hannah podcasts alone and becomes devilish- 3) Suzie takes us to Slovenia for the last story - ever heard of TABLE TIPPING? This is seriously spooky. Thank you Anita - we've gone full googey translate too.  P.S. WE DID OUR OWN TABLE TIPPING AND IT GENUINELY MOVED. WANNA SEE? Head to Patreon... Finally we end with ZENNER CARDS and try an ACTUAL telepathy experiment. Apologies it's next to impossible to play along - we will do better next time.  ENJOY HUNSSSSSSS xoxoxoxox  JOIN OUR PATREON! EXTRA bonus episodes AND a monthly ghost hunt for just £4.50!  Or £6 for AD-FREE EPS and weekly AGONY HUNS! We'll solve your problems huns!  Sign up here: www.patreon.com/GhostHuns Learn more about your ad choices. Visit megaphone.fm/adchoices

A tip is a reward for good service, not an entitlement.

It's back-to-back appearances for Frank Hickey, who returns to break down a superb Sunday at Fairyhouse headlined by a pair of Grade 1s, and we've even got Harry Cobden's thoughts on Captain Cody thrown in for good measure. Don't miss Harry Cobden and The Weekly Podcast on YouTube: https://www.youtube.com/@paddypowerhorseracing  Check out all of this weekend's offers, right here: https://promos.paddypower.com/sport It's Sunday Tipping, coming to you straight "From The Horse's Mouth"... 18+ | gambleaware.org

Rory and Matt once again join PK to break down Saturday's ITV Racing, with the spotlight on a huge Fighting Fifth showdown at Newcastle and action from Newbury. Don't miss Harry Cobden and The Weekly Podcast on YouTube: https://www.youtube.com/@paddypowerhorseracing  Check out all of this weekend's offers, right here: https://promos.paddypower.com/sport It's Saturday Tipping, coming to you straight "From The Horse's Mouth"... 18+ | gambleaware.org

With Ruby taking a rare day off, Rory teams up with the enigmatic Matt Chapman to preview Friday's ITV Racing from Newbury and Southwell. Don't miss Harry Cobden and The Weekly Podcast on YouTube: https://www.youtube.com/@paddypowerhorseracing  Check out all of this weekend's offers, right here: https://promos.paddypower.com/sport It's Friday Tipping, coming to you straight "From The Horse's Mouth"... 18+ | gambleaware.org

Everywhere you go!

Everywhere you go!

Everywhere you go!

Early episode with me, Mitch and our buddy Steve.    Also so people know my twitter account is suspended so if anyone wants to get ahold of me, tell Scott at vital vegas....all is good and I have appealed my Twitter suspension.   https://www.bettyinthesky.net/

Let's be honest – the occlusion after Aligner cases can be a little ‘off' (even after fixed appliances!) How do you know if your patient's occlusion after aligner treatment is acceptable or risky? What practical guidelines can general dentists follow to manage occlusion when orthodontic results aren't textbook-perfect? Jaz and Dr. Jesper Hatt explore the most common challenges dentists face, from ClinCheck errors and digital setup pitfalls to balancing aesthetics with functional occlusion. They also discuss key strategies to help you evaluate, guide, and optimize occlusion in your patients, because understanding what is acceptable and what needs intervention can make all the difference in long-term treatment stability and patient satisfaction. https://youtu.be/e74lUbyTCaA Watch PDP250 on YouTube Protrusive Dental Pearl: Harmony and Occlusal Compatibility Always ensure restorative anatomy suits the patient's natural occlusal scheme and age-related wear. If opposing teeth are flat and amalgam-filled, polished cuspal anatomy will be incompatible — flatten as needed to conform. Need to Read it? Check out the Full Episode Transcript below! Key Takeaways Common mistakes in ClinCheck planning often stem from occlusion issues. Effective communication and documentation are crucial in clinical support. Occlusion must be set correctly to ensure successful treatment outcomes. Understanding the patient’s profile is essential for effective orthodontics. Collaboration between GPs and orthodontists can enhance patient care. Retention of orthodontic results is a lifelong commitment. Aesthetic goals must align with functional occlusion in treatment planning. Informed consent is critical when discussing potential surgical interventions. The tongue plays a crucial role in orthodontic outcomes. Spacing cases should often be approached as restorative cases. Aligners can achieve precise spacing more effectively than fixed appliances. Enamel adjustments may be necessary for optimal occlusion post-treatment. Retention strategies must be tailored to individual patient needs. Case assessment is vital for determining treatment complexity. Highlights of this episode: 00:00 Teaser 00:59 Intro 02:53  Pearl – Harmony and Occlusal Compatibility 05:57 Dr. Jesper Hatt Introduction 07:34 Clinical Support Systems 10:18 Occlusion and Aligner Therapy 20:41 Bite Recording Considerations 25:32 Collaborative Approach in Orthodontics 30:31 Occlusal Goals vs. Aesthetic Goals 31:42 Midroll 35:03 Occlusal Goals vs. Aesthetic Goals 35:25 Challenges with Spacing Cases 42:19 Occlusion Checkpoints After Aligners 50:17 Considerations for Retention 54:55 Case Assessment and Treatment Planning 58:14 Key Lessons and Final Thoughts 01:00:19 Interconnectedness of Body and Teeth 01:02:48 Resources for Dentists and Case Support 01:04:40 Outro Free Aligner Case Support!Send your patient's case number and get a full assessment in 24 hours—easy, moderate, complex, or referral. Plus, access our 52-point planning protocol and 2-min photo course. No uploads, no cost. [Get Free Access Now] Learn more at alignerservice.com If you enjoyed this episode, don't miss: Do's and Don'ts of Aligners [STRAIGHTPRIL] – PDP071 #PDPMainEpisodes #OcclusionTMDandSplints #OrthoRestorative This episode is eligible for 1 CE credit via the quiz on Protrusive Guidance. This episode meets GDC Outcomes A and C. AGD Subject Code: 370 ORTHODONTICS (Functional orthodontic therapy) Aim: To provide general dentists with practical guidance for managing occlusion in aligner therapy, from bite capture to retention, including common pitfalls, functional considerations, and case selection. Dentists will be able to – Identify common errors in digital bite capture and occlusion setup. Understand the impact of anterior inclination and mandibular movement patterns on occlusal stability. Plan retention strategies appropriate for aligner and restorative cases. Click below for full episode transcript: Teaser: The one thing that we always check initially is the occlusion set correct by the aligner company. Because if the occlusion is not set correctly, everything else just doesn't matter because the teeth will move, but into a wrong position because the occlusion is off from the beginning. I don't know about you, but if half the orthodontists are afraid of controlling the root movements in extraction cases, as a GP, I would be terrified. Teaser:I don’t care if you just move from premolar to premolar or all the teeth. Orthodontics is orthodontics, so you will affect all the teeth during the treatment. The question’s just how much. Imagine going to a football stadium. The orthodontist will be able to find the football stadium.  If it’s a reasonable orthodontist, he’ll be able to find the section you’re going to sit in, and if he’s really, really, really good, he will be able to find the row that you’re going to sit in, but the exact spot where you are going to sit… he will never, ever be able to find that with orthodontics. Jaz’s Introduction: Hello, Protruserati. I’m Jaz Gulati. Welcome back to your favorite dental podcast. I’m joined today by our guest, Dr. Jesper Hatt. All this dentist does is help other dentists with their treatment plans for aligners. From speaking to him, I gather that he’s no longer practicing clinically and is full-time clinical support for colleagues for their aligner cases. So there’s a lot we can learn from someone who day in day out has to do so much treatment planning and speaking to GDPs about their cases, how they’re tracking, how they’re not tracking, complications, and then years of seeing again, okay, how well did that first set of aligners actually perform? What is predictable and what isn’t? And as well as asking what are the most common errors we make on our ClinChecks or treatment plan softwares. I really wanted to probe in further. I really want to ask him about clinical guidelines for occlusion after ortho. Sometimes we treat a case and whilst the aesthetics of that aligner case is beautiful, the occlusion is sometimes not as good. So let’s talk about what that actually means. What is a not-good occlusion? What is a good occlusion? And just to offer some guidelines for practitioners to follow because guess what? No orthodontist in the world is gonna ever get the occlusion correct through ortho. Therefore, we as GPs are never gonna get a perfect textbook occlusion, but we need to understand what is acceptable and what is a good guideline to follow. That’s exactly what we’ll present to you in this episode today. Dental PearlNow, this is a CE slash CPD eligible episode and as our main PDP episode, I’ll give you a Protrusive Dental Pearl. Today’s pearl is very much relevant to the theme of orthodontics and occlusion we’re discussing today, and it’s probably a pearl I’ve given to you already in the past somewhere down the line, but it’s so important and so key. I really want to just emphasize on it again. In fact, a colleague messaged me recently and it reminded me of this concept I’m about to explain. She sent me an image of a resin bonded bridge she did, which had failed. It was a lower incisor, and just a few days after bonding, it failed. And so this dentist is feeling a bit embarrassed and wanted my advice. Now, by the way, guys, if you message me for advice on Instagram, on Facebook, or something like that, it’s very hit and miss. Like my priorities in life are family, health, and everything that happens on Protrusive Guidance. Our network. If you message me outside that network, I may not see it. The team might, but I may not see it. It’s the only way that I can really maintain control and calm in my life. The reason for saying this, I don’t want anyone to be offended. I’m not ignoring anyone. It’s just the volume of messages I get year on year, they’re astronomical. And I don’t mind if you nudge me. If you messaged me something weeks or months ago and I haven’t replied, I probably haven’t seen it. Please do nudge me. And the best place to catch me on is Protrusive Guidance. If you DM me on Protrusive Guidance, home of the nicest and geekiest dentists in the world, that’s the only platform I will log in daily. That’s our baby, our community. Anyway, so I caught this Facebook message and it was up to me to help this colleague. And one observation I made is that the lower teeth were all worn. The upper teeth were really worn, but this resin bonded bridge pontic, it just looked like a perfect tooth. The patient was something like 77 or 80. So it really made me think that, okay, why are we putting something that looks like a 25-year-old’s tooth in a 77-year-old? But even forgetting age and stuff, you have to look at the adjacent teeth in the arch. Is your restoration harmonious with the other teeth in the arch, and of course is the restoration harmonious with what’s opposing it? Because it’s just not compatible. So part one of this pearl is make sure any restoration you do, whether it’s direct or indirect, is harmonious with the patient’s arch and with the opposing teeth and with their occlusal scheme. Because otherwise, if you get rubber dam on and you give your 75-year-old patient beautiful composite resin, it’s got all that cuspal fissure pattern and anatomy, and you take that rubber dam off and you notice that all the other teeth are flat and the opposing teeth are flat amalgams, guess what? You’re gonna be making your composite flat, whether you like it or not. You created a restoration that’s proud, right? That’s why you did not conform to the patient’s own arch or existing anatomical scheme. So the part B of this is the thing that I get very excited to talk about, right? So sometimes you have a worn dentition, but then you have one tooth that’s not worn at all. It’s like that in-standing lateral incisor, right? Think of an upper lateral incisor that’s a bit in-standing, and you see some wear on all the incisors, but that lateral incisor does not have any wear in it because it was never in the firing line. It was never in function. It was never in parafunction. Now, if you give this patient aligners or fixed appliances, you’re doing ortho and you’re now going to align this lateral incisor. So it’s now gonna eventually get into occlusion and it will be in the functional and parafunctional pathways of this patient. Do you really think you can just leave that incisor be? No. It’s not gonna be compatible with the adjacent teeth. It’s not going to be compatible with the opposing tooth and the occlusal scheme. So guess what? You have to get your bur out or your Sof-Lex disc out, and you have to bake in some years into that tooth. Or you have to build up all the other teeth if appropriate for that patient. You’ve just gotta think about it. And I hope that makes sense so you can stay out of trouble. You’re not gonna get chipping and you can consent your patient appropriately for enamel adjustment, which is something that we do talk about in this episode. I think you’re in for an absolute cracker. I hope you enjoy. I’ll catch you in the outro. Main Episode: Doctor Jesper Hatt, thank you so much for coming to Protrusive Dental Podcast. We met in Scandinavia, in Copenhagen. You delivered this wonderful lecture and it was so nice to connect with you then and to finally have you on the show. Tell us, how are you, where in the world are you, and tell us about yourself. [Jesper] Well, thank you for the invitation, first of all. Well, I’m a dentist. I used to practice in Denmark since I originally come from Denmark. My mother’s from Germany, and now I live in Switzerland and have stopped practicing dentistry since 2018. Now I only do consulting work and I help doctors around the world with making their aligner business successful. [Jaz] And this is like probably clinical advice, but also like strategic advice and positioning and that kinda stuff. Probably the whole shebang, right? [Jesper] Yeah. I mean, I have a team around me, so my wife’s a dentist as well, and I would say she’s the expert in Europe on clear aligners. She’s been working for, first of all, our practice. She’s a dentist too. She worked with me in the practice. We practiced together for 10 years. Then she became a clinical advisor for Allion Tech with responsibility for clinical support of Scandinavia. She was headhunted to ClearCorrect, worked in Basel while I was doing more and more consulting stuff in Denmark. So she was traveling back and forth, and I considered this to be a little bit challenging for our family. So I asked her, well, why don’t we just relocate to Switzerland since ClearCorrect is located there? And sure we did. And after two years she told me, I think clinical support, it’s okay. And I like to train the teams, but I’d really like to do more than that because she found out that doctors, they were able to book a spot sometime in the future, let’s say two weeks out in the future at a time that suited the doctors… no, not the doctors, ClearCorrect. Or Invisalign or whatever clear aligner company you use. So as a doctor, you’re able to block the spot and at that time you can have your 30 minutes one-on-one online with a clinical expert. And she said it’s always between the patients or administrative stuff. So they’re not really focused on their ClearCorrect or clear aligner patient. And so they forget half of what I tell them. I can see it in the setups they do. They end up having to call me again. It doesn’t work like that. I would like to help them. [Jaz] It’s a clunky pathway of mentorship. [Jesper] Yes. And so she wanted to change the way clinical support was built up. So we do it differently. We do it only in writing so people can remember what we are telling them. They can always go back in the note and see what’s been going on, what was the advice we gave them, and we offer this co-creation support where we take over most of the treatment planning of the ClearCorrect or Clear Aligner or Spark or Invisalign or Angel Aligner treatment planning. So we do all the digital planning for the doctor, deliver what we think would be right for the patient based on the feedback we initially got from the doctor. And then the doctor can come back and say, well, I’d like a little more space for some crowns in the front, or I would like the canines to be in a better position in order to achieve immediate post disclusion. And so we can go into this discussion back and forth and adjust the digital setup in a way that is more realistic and predictable and do it all for the doctors. So they, on an average, they spend four to six hours less chair time when they use that kind of service compared to if they do everything themselves. And on top of that, you can put your planning time. She was responsible for that and it works quite well. I still remember when we initially got on all these online calls and we would see fireworks in the background and confetti coming down from the top and all of that. [Jaz] Exactly. So excuse that little bit, but okay. So essentially what you’re doing is, for an aligner user myself, for example, you’re doing the ClinChecks, you are helping, supporting with the ClinChecks, the planning. And I’ve got a lot of questions about that. The first question I’ll start with, which is off the script, but there’s probably a hundred different mistakes that could happen in a ClinCheck, right? But what is the most repeatable, predictable, common mistake that you’ll see when a new user sends a case to you to help them with their planning? What’s the most common mistake that you will see in a setup? [Jesper] Two things, actually. The one thing that we always check initially is the occlusion set correct by the aligner company. Because if the occlusion is not set correctly, everything else just doesn’t matter because the teeth will move but into a wrong position because the occlusion is off from the beginning. And so we always check that as the first part. How does this— [Jaz] So let’s talk about that ’cause that might be confusing for a younger colleague because they’re like, hey, hang on a minute. I scanned the bite left and right. What do you mean the occlusion is wrong? Because surely that gets carried through into what I see on the ClinCheck. So what do you think is the mechanism for this to happen? [Jesper] Two different reasons. I’m from a time when I graduated in 2003, so that was before digital dentistry. So when I went to the Pankey Institute and learned everything about functional occlusion and all of that stuff, I also found out that most of my patients, when I put silicone impression material between the teeth and asked the patients to bite together, they would always protrude a little bit unless I instructed them to bite hard on the posterior teeth. And when we got the scanners, when we put a scanner into the cheek and pull the cheek, most patients, when we asked them to bite together to do the intraoral scan of the bite, they also protruded a little bit, not much, but enough to set the bite wrong. So that is the one challenge when the technicians of the aligner companies put the models together. The other challenge is that some of the aligner companies, they let the technicians set the models. We always, as the first thing when we see a case, we always look at the photos, the clinical photos. And that’s why the clinical photos have to be of great quality. So we look at the clinical photos of the patient— [Jaz] And also in those clinical photos, Jesper, you have to coach them correctly to bite. You have to notice if they’re biting wrong even in the photos ’cause then it just duplicates the error. And that’s why good photography and actually being able to coach the patient is so imperative. [Jesper] Yes, that’s correct. But we compare the two and usually if we see a difference, we ask the doctor, is what we see in the photo correct, or is what we see on the digital models correct? And because we don’t like differences. So that would be the first step to look for. And what’s the second? The second thing is that when you look at the setup, the anterior teeth are usually—I’m trying to show you—the anterior teeth are very, very steep. Typically with aligners it’s a lot easier to tip the crowns. So when you have a class II patient, deviation one, where the anteriors are in a forward position, proclined, and you have a lot of space between the anteriors of the maxilla and the mandible, then the easiest thing on a digital setup is to just retrocline the anteriors of the upper to make them fit the lowers, which you could then procline a little bit, but usually you have very steep relationships between the two and this— [Jaz] So you’re more likely to restrict the envelope of function, functional interference anteriorly. You are obviously reducing the overjet, but you may end up reducing like a wall contact rather than an elegant, more open gate. [Jesper] Yes. And there’s another dimension to this because when we work with orthodontics, one of the most important things to look for is actually the profile of the patient. Because let’s say I’m trying to illustrate this now, so I hope you get a 90— [Jaz] So describe it for our audio listeners as well. So we’re looking at a profile view of Jesper. [Jesper] Yes. So I’m turning the side to the camera. I hope you can see my profile here. So let’s say I had flared anterior maxillary teeth and I wanted to retrocline them. It would have an effect on my upper lip, so the lip would fall backwards if I just retrocline everything. And every millimeter we move the anteriors in the maxilla in a posterior direction, we will have a potential lip drop of three millimeters. In addition, if we don’t get the nasolabial angulation correct, we risk the lower face will simply disappear in the face of the patient. So soft tissue plays a role here, so we cannot just retrocline the teeth. It looks great on the computer screen, but when it comes to reality, we’ll have a functional challenge. We’ll have a soft tissue support challenge, and in addition we’ll have long-term retention challenges as well. Because when you have a steep inclination, the anterior teeth in the mandible, they don’t have any kind of support. They will not be stopped by anything in the maxillary teeth, which you would if you had the right inclination between the teeth, which would be about 120 degrees. So why do aligner companies always set the teeth straight up and down in the anterior part? We wondered about this for years. We don’t have a strict answer. We don’t know exactly why it’s like this, but I have a hunch. I think there are two things to it. First of all, the easiest thing to do with aligners is to move the crown, so we can just tip the teeth. You take them back, you make a lot of IPR, and then you just tip them so they’re retroclined. Secondly, all aligner companies, they come from the United States. And in the United States there is a higher representation of class III patients. Now why is that important? All our patients can be put into two different categories in regards to how they move their mandible. They are the crocodiles that only open and close, like move up and down, and then we have the cows. And then we have the cows that move the mandible around, or the camels. I mean, every camel, if you’ve seen a camel chew, it’s just moving from side to side. [Jaz] Horses as well. Horses as well. [Jesper] They kind of do that. [Jaz] But I’m glad you didn’t say rats ’cause it’s more elegant to be a crocodile than a rat. [Jesper] Exactly. And I usually say we only tell the crocodiles. So why is this a challenge and why isn’t it a challenge with class III patients? Well, all real class III patients act like crocodiles, so they don’t move them side to side. From a functional perspective, it’s really not a problem having steep anterior inclination or steep relationships as long as you have a stable stop where the anteriors—so the anteriors will not elongate and create the red effect. So they just elongate until they hit the palate. If you can make a stop in the anterior part of the occlusion, then you’ll have some kind of stability with the class III patients. But with class II patients, we see a lot more cows. So they move the mandible from side to side and anterior and back and forth and all… they have the mandible going all kinds of places. And when they do that, we need some kind of anterior guidance to guide the mandible. I usually say the upper jaw creates the framework in which the mandible will move. So if the framework is too small, we fight the muscles. And whenever we fight the muscles, we lose because muscles always win. It doesn’t matter if it’s teeth, if it’s bone, if it’s joints, they all lose if they fight the muscles— [Jaz] As Peter Dawson would say, in the war between teeth and muscles or any system and muscles, the muscles always win. Absolutely. And the other analogy you remind me of is the maxilla being like a garage or “garage” from UK, like a garage. And the mandible being like the car, and if you’re really constrained, you’re gonna crash in and you’re gonna… everything will be in tatters. So that’s another great way to think about it. Okay. That’s very, very helpful. I’m gonna—’cause there’s so much I wanna cover. And I think you’ve really summed up nicely. But one thing just to finish on this aspect of that common mistake being that the upper anteriors are retroclined, really what you’re trying to say is we need to be looking at other modalities, other movements. So I’m thinking you’re saying extraction, if it’s suitable for the face, or distalisation. Are you thinking like that rather than the easier thing for the aligners, which is the retrocline. Am I going about it the right way? [Jesper] Depends on the patient. [Jaz] Of course. [Jesper] Rule of thumb: if you’re a GP, don’t ever touch extraction cases. Rule of thumb. Why? Because it is extremely challenging to move teeth parallel. So you will most—especially with aligners—I mean, I talk with a very respected orthodontist once and I asked him, well, what do you think about GPs treating extraction cases where they extract, you know, two premolars in the maxilla? And he said, well, I don’t know how to answer this. Let me just explain to you: half of my orthodontist colleagues, they are afraid of extraction cases. And I asked them why. Because it’s so hard to control the root movement. Now, I don’t know about you— [Jaz] With aligners. We’re specifically talking about aligners here, right? [Jesper] With all kinds of orthodontic appliances. [Jaz] Thank you. [Jesper] So now, I don’t know about you, but if half the orthodontists are afraid of controlling the root movements in extraction cases, as a GP, I would be terrified. And I am a GP. So I usually say, yeah, sometimes you will have so much crowding and so little space in the mandible, so there’s an incisor that is almost popped out by itself. In those cases, yes. Then you can do an extraction case. But when we’re talking about premolars that are going to be extracted, or if you want to close the space in the posterior part by translating a tooth into that open space, don’t. It’s just the easiest way to end up in a disaster because the only thing you’ll see is just teeth that tip into that space, and you’ll have a really hard time controlling the root movements, getting them corrected again. [Jaz] Well, thank you for offering that guideline. I think that’s very sage advice for those GPs doing aligners, to stay in your lane and just be… the best thing about being a GP, Jesper, is you get to cherry pick, right? There’s so many bad things about being a GP. Like you literally have to be kinda like a micro-specialist in everything in a way. And so sometimes it’s good to be like, you know what, I’ll keep this and I’ll send this out. And being selective and case selection is the crux of everything. So I’m really glad you mentioned that. I mean, we talked and touched already on so much occlusion. The next question I’m gonna ask you then is, like you said, a common error is the bite and how the bite appears on the ClinCheck or whichever software a dentist is using. Now, related to bite, vast majority of orthodontic cases are treated in the patient’s existing habitual occlusion, their maximum intercuspal position. Early on in my aligner journey, I had a patient who had an anterior crossbite. And because of that anterior crossbite, their jaw deviated. It was a displaced—the lower jaw displaced. And then I learned from that, that actually for that instance, perhaps I should not have used an MIP scan. I should have used more like centric relation or first point of contact scan before the displacement of the jaw happens. So that was like always in my mind. Sometimes we can and should be using an alternative TMJ position or a bite reference other than MIP. Firstly, what do you think about that kind of scenario and are there any other scenarios which you would suggest that we should not be using the patient’s habitual occlusion for their bite scan for planning orthodontics? [Jesper] Well, I mentioned that I was trained at the Pankey Institute, and when you start out right after—I mean, I spent 400 hours over there. Initially, I thought I was a little bit brainwashed by that because I thought every single patient should be in centric relation. Now, after having put more than 600 patients on the bite appliance first before I did anything, I started to see some patterns. And so today, I would say it’s not all patients that I would get into centric relation before I start treating the teeth. But when we talk about aligner therapy and orthodontic treatment, I think it’s beneficial if you can see the signs for those patients where you would say, hmm, something in the occlusion here could be a little bit risky. So let’s say there are wear facets on the molars. That will always trigger a red flag in my head. Let’s say there are crossbites or bite positions that kind of lock in the teeth. We talked about class III patients before, and I said if it’s a real skeletal-deviation class III patient, it’s a crocodile. But sometimes patients are not real class III skeletal deviation patients. They’re simply being forced into a class III due to the occlusion. That’s where the teeth fit together. So once you put aligners between the teeth and plastic covers the surfaces, suddenly the patients are able to move the jaws more freely and then they start to seat into centric. That may be okay. Usually it is okay. The challenge is consequences. So when you’re a GP and you suddenly see a patient moving to centric relation and you find out, whoa, on a horizontal level there’s a four- to six-millimeter difference between the initial starting point and where we are now, and maybe we create an eight-millimeter open bite in the anterior as well because they simply seat that much. And I mean, we have seen it. So is this a disaster? Well, it depends. If you have informed the patient well enough initially and said, well, you might have a lower jaw that moves into a different position when we start out, and if this new position is really, really off compared to where you are right now, you might end up needing maxillofacial surgery, then the patient’s prepared. But if they’re not prepared and you suddenly have to tell them, you know, I think we might need maxillofacial surgery… I can come up with a lot of patients in my head that would say, hey doctor, that was not part of my plan. And they will be really disappointed. And at that point there’s no turning back, so you can’t reverse. So I think if you are unsure, then you are sure. Then you should use some kind of deprogramming device or figure out where is centric relation on this patient. If there isn’t that much of a difference between maximum intercuspation and centric— [Jesper] Relation, I don’t care. Because once you start moving the teeth, I don’t care if you just move from premolar to premolar or all the teeth. Orthodontics is orthodontics, so you will affect all the teeth during the treatment. The question’s just how much. And sometimes it’s just by putting plastic between the teeth that you will see a change, not in the tooth position, but in the mandibular position. And I just think it’s nicer to know a little bit where this is going before you start. And the more you see of this—I mean, as I mentioned, after 600 bite appliances in the mouths of my patients, I started to see patterns. And sometimes in the end, after 20 years of practicing, I started to say, let’s just start, see where this ends. But I would always inform the patients: if it goes totally out of control, we might end up needing surgery, and there’s no way to avoid it if that happens. And if the patients were okay with that, we’d just start out. Because I mean, is it bad? No. I just start the orthodontic treatment and I set the teeth as they should be in the right framework. Sometimes the upper and the lower jaw don’t fit together. Well, send them to the surgeon and they will move either the upper or the lower jaw into the right position, and then we have it. No harm is done because we have done the initial work that the orthodontist would do. But I will say when I had these surgical patients—let’s say we just started out with aligners and we figured, I can’t control this enough. I need a surgeon to look at this—then I would send them off to an orthodontist, and the orthodontist and the surgeon would take over. Because then—I mean, surgical patients and kids—that’s the second group of patients besides the extraction cases that I would not treat as a GP. ‘Cause we simply don’t know enough about how to affect growth on kids. And when it comes to surgery, there’s so much that is… so much knowledge that we need to know and the collaboration with the surgeons that we’re not trained to handle. So I think that should be handled by the orthodontists as well. [Jaz] I think collaborative cases like that are definitely specialist in nature, and I think that’s a really good point. I think the point there was informed consent. The mistake is you don’t warn the patient or you do not do the correct screening. So again, I always encourage my guests—so Jesper, you included—that we may disagree, and that’s okay. That’s the beauty of dentistry. So something that I look for is: if the patient has a stable and repeatable maximum intercuspal position, things lock very well, and there’s a minimal slide—like I use my leaf gauge and the CR-CP is like a small number of leaves and the jaw hardly moves a little bit—then there’s no point of uncoupling them, removing that nice posterior coupling that they have just to chase this elusive joint position. Then you have to do so many more teeth. But when we have a breakdown in the system, which you kind of said, if there’s wear as one aspect, or we think that, okay, this patient’s occlusion is not really working for them, then we have an opportunity to do full-mouth rehabilitation in enamel. Because that’s what orthodontics is. And so that’s a point to consider. So I would encourage our GP colleagues to look at the case, look at the patient in front of you, and decide: is this a stable, repeatable occlusion that you would like to use as a baseline, or is there something wrong? Then consider referring out or considering—if you’re more advanced in occlusion studies—using an alternative position, not the patient’s own bite as a reference. So anything you wanna add to that or disagree with in that monologue I just said there? [Jesper] No, I think there’s one thing I’d like the listeners to consider. I see a lot of fighting between orthodontists and GPs, and I think it should be a collaboration instead. There’s a lot of orthodontists that are afraid of GPs taking over more and more aligner treatments, and they see a huge increase in the amount of cases that go wrong. Well, there’s a huge increase of patients being treated, so there will be more patients, just statistically, that will get into problems. Now, if the orthodontist is smart—in my opinion, that’s my opinion—they reach out to all their referring doctors and they tell them, look, come in. I will teach you which cases you can start with and which you should refer. Let’s start there. Start your aligner treatments. Start out, try stuff. I will be there to help you if you run into problems. So whenever you see a challenge, whenever there’s a problem, send the patient over to me and I’ll take over. But I will be there to help you if anything goes wrong. Now, the reason this is really, really a great business advice for the orthodontists is because once you teach the GPs around you to look for deviations from the normal, which would be the indication for orthodontics, the doctors start to diagnose and see a lot more patients needing orthodontics and prescribe it to the patients, or at least propose it to the patients. Which would initially not do much more than just increase the amount of aligner treatments. But over time, I tell you, all the orthodontists doing this, they are drowning in work. So I mean, they will literally be overflown by patients being referred by all the doctors, because suddenly all the other doctors around them start to diagnose orthodontically. They see the patients which they haven’t seen before. So I think this is—from a business perspective—a really, really great thing for the orthodontists to have a collaboration with this. And it’ll also help the GPs to feel more secure when they start treating their patients. And in the end, that will lead to more patients getting the right treatment they deserve. And I think that is the core. That is what’s so important for us to remember. That’s what we’re here for. I mean, yes, it’s nice to make money. We have to live. It’s nice with a great business, but what all dentists I know of are really striving for is to treat their patients to the best of their ability. And this helps them to do that. [Jaz] Ultimate benefactor of this collaborative approach is the patient. And I love that you said that. I think I want all orthodontists to listen to that soundbite and take it on board and be willing to help. Most of them I know are lovely orthodontists and they’re helping to teach their GPs and help them and in return they get lots of referrals. And I think that’s the best way to go. Let’s talk a little bit about occlusal goals we look for at the end of orthodontics. This is an interesting topic. I’m gonna start by saying that just two days ago I got a DM from one of the Protruserati, his name is Keith Curry—shout out to him on Instagram—and he just sent me a little message: “Jaz, do you sometimes find that when you’re doing alignment as a GP that it’s conflicting the orthodontic, the occlusal goal you’re trying to get?” And I knew what I was getting to. It’s that scenario whereby you have the kind of class II division 2, right? But they have anterior guidance. Now you align everything, okay, and now you completely lost anterior guidance. And so the way I told him is that, you know what, yes, this is happening all the time. Are we potentially at war between an aesthetic smile and a functional occlusion? And sometimes there’s a compromise. Sometimes you can have both. But that—to achieve both—needs either a specialist set of eyes or lots of auxiliary techniques or a lot more time than what GPs usually give for their cases. So first let’s touch on that. Do you also agree that sometimes there is a war between what will be aesthetic and what will be a nice functional occlusion? And then we’ll actually talk about, okay, what are some of the guidelines that we look for at the end of completing an aligner case? [Jesper] Great question and great observation. I would say I don’t think there’s a conflict because what I’ve learned is form follows function. So if you get the function right, aesthetics will always be great. Almost always. I mean, we have those crazy-shaped faces sometimes, but… so form follows function. The challenge here is that in adult patients, we cannot manipulate growth. So a skeletal deviation is a skeletal deviation, which means if we have a class II patient, it’s most likely that that patient has a skeletal deviation. I rarely see a dental deviation. It happens, but it’s really, really rare. So that means that in principle, all our class II and chronic class III patients are surgical patients. However, does that mean that we should treat all our class II and class III patients surgically? No, I don’t think so. But we have to consider that they are all compromise cases. So we need to figure a compromise. So initially, when I started out with my occlusal knowledge, I have to admit, I didn’t do the orthodontic treatment planning. I did it with Heller, and she would give me feedback and tell me, I think this is doable and this is probably a little bit challenging. If we do this instead, we can keep the teeth within the bony frame. We can keep them in a good occlusion. Then I would say, well, you have a flat curve of Spee. I’d like to have a little bit of curve. It’s called a curve of Spee and not the orthodontic flat curve of Spee. And then we would have a discussion back and forth about that. Then initially I would always want anterior coupling where the anterior teeth would touch each other. I have actually changed that concept in my mind and accepted the orthodontic way of thinking because most orthodontists will leave a little space in the anterior. So when you end the orthodontic treatment, you almost always have a little bit of space between the anterior teeth so they don’t touch each other. Why? Because no matter what, no matter how you retain the patient after treatment, there will still be some sort of relapse. And we don’t know where it’ll come or how, but it will come. Because the teeth will always be positioned in a balance between the push from the tongue and from the cheeks and the muscles surrounding the teeth. And that’s a dynamic that changes over the years. So I don’t see retention as a one- or two-year thing. It’s a lifelong thing. And the surrounding tissues will change the pressure and thereby the balance between the tongue and the cheeks and where the teeth would naturally settle into position. Now, that said, as I mentioned initially, if we fight the muscles, we’ll lose. So let’s say we have an anterior open bite. That will always create a tongue habit where the patient positions the tongue in the anterior teeth when they swallow because if they don’t, food and drink will just be splashed out between the teeth. They can’t swallow. It will just be pushed out of the mouth. [Jaz] So is that not like a secondary thing? Like that tongue habit is secondary to the AOB? So in those cases, if you correct the anterior open bite, theoretically should that tongue posture not self-correct? [Jesper] Well, we would like to think so, but it’s not always the case. And there’s several reasons to it. Because why are the teeth in the position? Is it because of the tongue or because of the tooth position? Now, spacing cases is one of those cases where you can really illustrate it really well. It looks really easy to treat these patients. If we take away all the soft tissue considerations on the profile photo, I mean, you can just retract the teeth and you close all the spaces—super easy. Tipping movements. It’s super easy orthodontically to move quickly. Very easy as well. However, you restrict the tongue and now we have a retention problem. So there are three things that can happen. You can bond a retainer on the lingual side or the palatal side of the teeth, upper, lower—just bond everything together—and after three months, you will have a diastema distal to the bonded retainer because the tongue simply pushes all the teeth in an anterior direction. [Jaz] I’ve also seen—and you’ve probably seen this as well—the patient’s tongue being so strong in these exact scenarios where the multiple spacing has been closed, which probably should have been a restorative plan rather than orthodontic plan, and the retainer wire snaps in half. [Jesper] Yes, from the tongue. [Jaz] That always fascinated me. [Jesper] Well, you’ll see debonding all the time, even though you sandblast and you follow all the bonding protocol. And debonding, breaking wires, diastemas in places where you think, how is that even possible? Or—and this is the worst part—or you induce sleep apnea on these patients because you simply restrict the space for the tongue. So they start snoring, and then they have a total different set of health issues afterwards. So spacing—I mean, this just illustrates the power of the tongue and why we should always be careful with spacing cases. I mean, spacing cases, in my opinion, are always to be considered ortho-restorative cases. Or you can consider, do you want to leave some space distal to the canines? Because there you can create an optical illusion with composites. Or do you want to distribute space equally between the teeth and place veneers or crowns or whatever. And this is one of those cases where I’d say aligners are just fabulous compared to fixed appliances. Because if you go to an orthodontist only using fixed appliances and you tell that orthodontist, please redistribute space in the anterior part of the maxilla and I want exactly 1.2 millimeters between every single tooth in the anterior segment, six years later he’s still not reached that goal because it just moves back and forth. Put aligners on: three months later, you have exactly—and I mean exactly—1.2 millimeters of space between each and every single tooth. When it comes to intrusion and extrusion, I would probably consider using fixed appliances rather than aligners if it’s more than three millimeters. So every orthodontic system—and aligners are just an orthodontic system—each system has its pros and cons, and we just have to consider which system is right for this patient that I have in my chair. But back to the tongue issue. What should we do? I mean, yes, there are two different schools. So if you have, let’s say, a tongue habit that needs to be treated, there are those that say we need to get rid of the tongue habit before we start to correct the teeth. And then there are those that say that doesn’t really work because there’s no room for the tongue. So we need to create room for the tongue first and then train the patient to stop the habit. Both schools and both philosophies are being followed out there. I have my preferred philosophy, but I will let the listener start to think about what they believe and follow their philosophy. Because there is nothing here that is right or wrong. And that is— [Jaz] I think the right answer, Jesper, is probably speak to that local orthodontist who’s gonna be helping you out and whatever they recommend—their religion—follow that one. Because then at least you have something to defend yourself. Like okay, I followed the way you said. Let’s fix it together now. [Jesper] That’s a great one. Yeah, exactly. [Jaz] Okay, well just touching up on the occlusion then, sometimes we do get left with like suboptimal occlusions. But to be able to define a suboptimal occlusion… let’s wrap this occlusion element up. When we are completing an orthodontic case—let’s talk aligners specifically—when the aligners come off and the fixed retainers come on, for example, and the patient’s now in retention, what are some of the occlusal checkpoints or guidelines that you advise checking for to make sure that, okay, now we have a reasonably okay occlusion and let things settle from here? For example, it would be, for me, a failure if the patient finishes their aligners and they’re only holding articulating paper on one side and not the other side. That’s for me a failure. Or if they’ve got a posterior open bite bilaterally. Okay, then we need to go refinement. We need to get things sorted. But then where do you draw the line? How extreme do you need to be? Do you need every single tooth in shim-stock foil contact? Because then we are getting really beyond that. We have to give the adaptation some wiggle room to happen. So I would love to know from your learning at Pankey, from your experience, what would you recommend is a good way for a GP to follow about, okay, it may not be perfect and you’ll probably never get perfect. And one of the orthodontists that taught me said he’s never, ever done a case that’s finished with a perfect occlusion ever. And he said that to me. [Jesper] So—and that’s exactly the point with orthodontics. I learned that imagine going to a football stadium. The orthodontist will be able to find the football stadium. If it’s a reasonable orthodontist, he’ll be able to find the section you’re going to sit in. And if he’s really, really, really good, he will be able to find the row that you’re going to sit in. But the exact spot where you are going to sit, he will never, ever be able to find that with orthodontics. And this is where settling comes in and a little bit of enamel adjustments. [Jaz] I’m so glad you said that. I’m so glad you mentioned enamel adjustment. That’s a very dirty word, but I agree with that. And here’s what I teach on my occlusion courses: what we do with aligners essentially is we’re tampering with the lock. Let’s say the upper jaw is the lock. It’s the still one. We’re tampering with the key, which is the lower jaw—the one that moves—we tamper with the key and the lock, and we expect them both to fit together at the end without having to shave the key and to modify the lock. So for years I was doing aligners without enamel adjustment ’cause my eyes were not open. My mind was not open to this. And as I learned, and now I use digital measuring of occlusion stuff and I seldom can finish a case to get a decent—for my criteria, which is higher than it used to be, and my own stat—is part of my own growth that’s happened over time is that I just think it’s an important skill that GPs are not taught and they should be. It’s all about finishing that case. And I think, I agree with you that some adjustment goes a long way. We’re not massacring enamel. It’s little tweaks to get that. [Jesper] Exactly. I like the sound there because sometimes you hear that “ahh,” it doesn’t really sound right, but “tsst,” that’s better. [Jaz] That’s the one. You know, it reminds me of that lecture you did in Copenhagen. You did this cool thing—which I’ve never seen anyone do before. You sat with one leg over the other and you said, okay guys, bite together. Everyone bit together. And then you swapped the legs so the other leg was over the other and bite together. And then you said, okay, whose occlusion felt different? And about a third of the audience put their hand up, I think. Tell us about that for a second. [Jesper] Well, just promise me we go back to the final part because there are some things we should consider. [Jaz] Let’s save this as a secret thing at the end for incentive for everyone to listen to the end—how the leg position changes your occlusion. Let’s talk about the more important thing. I digressed. [Jesper] Let’s talk about the occlusal goals because I think it’s important. I mean, if you do enamel adjustments in the end—so when we finish the treatment, when we come to the last aligner in the treatment plan—I think we should start by breaking things down to the simplest way possible. Start by asking the patient: are you satisfied with the way the teeth look? Yes or no? If she’s satisfied, great. How do you feel about the occlusion? “Well, it fits okay.” Great. Now the patient is happy. There’s nothing she wants to—or he wants to—change. Then you look at the occlusion. Now, it is important to remember that what we see on the computer screen, on the aligner planning tools, will never, ever correspond 100% to what we see in the mouth of the patient. And there are several reasons for that. But one of the things that we have found to be really interesting is that if you take that last step and you say, okay, the occlusion doesn’t fit exactly as on the screen, but it’s kind of there… if you use that last step and you don’t do a re-scan for a retainer, but you use the last step of the aligner treatment as your reference for your aligner retainer… We sometimes see that over six months, if the patient wears that aligner 22 hours a day for another three to six months, the teeth will settle more and more into the aligner and create an occlusion that looks more and more like what you see on the screen. Which to me just tells me that the biology doesn’t necessarily follow the plan everywhere in the tempo that we set throughout the aligner plan. But over time, at the last step, if it’s just minor adjustments, the teeth will actually move into that position if we use the last stage as a reference for the retainer. Now, if we do a scan at that point and use that as a reference for creating an aligner retainer, then we just keep the teeth in that position. Now, if the teeth are a little bit more off— [Jaz] I’m just gonna recap that, Jesper, ’cause I understood what you said there, but I want you to just make sure I fully understood it. When we request, for example, Align, the Vivera retainer, it gives you an option: “I will submit a new scan” or “use the last step.” And actually I seldom use that, but now I realize you’re right. It makes sense. But then on the one hand, if the occlusion is—if the aesthetics are good and the patient’s occlusion feels good, what is your own judgment to decide whether we’re still going to allow for some more settling and occlusal changes to happen over a year using the Vivera retainers based on the ClinCheck last-aligner profile, rather than, okay, let’s just retain to this position? What is making you do the extra work, extra monitoring? [Jesper] To me, it’s not extra monitoring. It’s just basic. I mean, it’s just part of my protocol. I follow the patients. And honestly, to me, it’s just time-saving to just use the last step in the aligner. Because I mean, if the plan is right and if the teeth have been tracking well, they should be in that position. Why do I then need to re-scan for Vivera retainers or for other kinds of retainers? Now, if the occlusion is a little bit more off—and in a minute you’ll probably ask me when do I see which is which, and I can’t really tell you; it’s about experience—but that’s the beauty of this. If I see there’s a little bit more deviation and I like some teeth, the occlusion isn’t really good on one side compared to the other side, I would rather have a bonded retainer from first premolar to first premolar in the mandible, combined with a Hawley or Begg or something like that retainer for the upper. And you can order them with an acrylic plate covering some of the anterior teeth so they keep that position, but that allows the teeth to settle. And over three months you should see some kind of improvement. If you don’t see enough improvement and let’s say you still have a tendency for a kind of an open bite on one side, you can always add some cross elastics, put some buttons on the upper, on the lower, instruct the patient to use these, and then in three months you will have the occlusion you want. Now, once that is established—you have that kind of occlusion—you need to keep the teeth there for at least six months before you do some kind of equilibration or enamel adjustment. Because if you do the enamel adjustment right after you have reached your final destination for the teeth, the teeth will still settle and move. So you do the equilibration, two weeks later everything looks off again. You do the equilibration, two weeks later things have changed again. So I prefer to wait six months before I do the final equilibration. Now, in this equation what we’ve been talking about here, it goes from very simple to more and more complex. And then we have to consider, well, did I expand the mandible posterior segment? If so, I can’t just use a bonded retainer on the lower and I need to add something to keep the teeth out there in combination with whatever I want in the upper. Do I want to keep the Begg retainer or the Hawley, or do I want to change to something differently? So these kinds of considerations have to be there from the beginning of the treatment because, I mean, it costs additional money to order a Begg retainer compared to just an aligner. [Jaz] A Begg retainer is the same as Hawley? [Jesper] Well, no. It has a little different design. [Jaz] Oh, a Begg as in B-E-G-G? [Jesper] Yes. [Jaz] Yeah, got it. Got it. Okay. [Jesper] And then in Denmark we use the Jensen retainer, which is a Danish invention, which goes from canine to canine or from first premolar to first premolar but with a different type of wire which keeps the teeth more in place compared to a round wire. So there are different variations. The most important part here is it allows the posterior teeth to settle so they can move, which they can’t in an aligner to the same degree at least. Now, this is all really nice in teeth that only need to be moved into the right position, but most of our patients are adult patients, or they should at least be adult patients. Most of my patients were more than 30 years old. So if you have a patient with anterior crowding and you move the teeth into the right position where the teeth should be, the teeth are in the right position, but they still look ugly because they have been worn anteriorly by the position they were in when they were crooked. So when we position them, we still need to do some restorative work. Then what? We still need to retain those teeth. The patient wants to be finished now as fast as possible, so we can’t wait the six months to make the final touches. So we have to figure out: what do we do? And then we have to think of some kind of retention strategy to keep the teeth in place during that restorative procedure. And I mean, at the end of an aligner treatment or any orthodontic treatment, two days is enough to have relapse in some patients. Some patients it’s not a problem. The teeth are just there to stay in the same position for three months, and then they start to move a little bit around. But other patients—I mean, you just have to look away and then go back to the teeth and they’re in a different position. You can’t know what kind of patient you have in your chair right now. So you have to consider the way you plan your restorative procedure in regards to how you retain the teeth during that phase. So if you want to do anterior composites or veneers, do it all at once. Put in a bonded retainer, scan, and get your aligner retainer as fast as possible. Or use a Begg or a Hawley or something like that that’s a little bit more flexible. If you want to do crowns, then we have a whole different challenge and then we have to consider how do we then retain the teeth. [Jaz] Okay. Well I think that was lovely. I think that gives us some thoughts and ideas of planning sequence of retention, which is the ultimate thing to consider when it comes to occlusion. Okay, yeah, you get the occlusion, but how do you retain it? But in many cases, as the patient’s wearing aligners, the occlusion is embedding in and is fine. And you take off the aligners, the patient’s happy with how it looks. They bite together. It feels good. You are happy that yes, both sides of the mouth are biting together. Now, it might not be that every single contact is shim-hold, but you got, let’s say, within 20 microns, 40 microns, okay? Then some bedding happens. In that kind of scenario, would you be happy to say, okay, I’m gonna scan your teeth as they are because I’m happy with the occlusion, the occlusal goals are good, and they’re near enough the ClinCheck, and go for the retainers to that position? Or is your default preference as a clinician to go for the Vivera or equivalent based on the last aligner, on the ClinCheck projection? [Jesper] I would still go for the last aligner because I think the planning I’ve done is probably a little bit more precise than what I see clinically. However, I still expect that I will have to do a little bit of enamel reshaping at the end after six months, but that’s okay. I mean, the changes are so small, so you can still use the last aligner or the Vivera retainer that you already have ordered. So it’s not that much of a problem. [Jaz] Which goes back to your previous point: if it’s a big deviation, then you’ve gotta look at the alternative ways, whether you’re gonna go for refinement or you’re gonna allow some occlusal settling with a Hawley and a lower fixed-retainer combination, or the elastics like you said. Okay. Just so we’re coming to the end of the podcast—and I really enjoyed our time—I would like to delve deep into just a final thing, which is a little checklist, a helpful checklist for case assessment that you have for GDPs. [Jesper] Yeah, thank you. First of all, one of the big challenges in a GP practice is being able to take a full series of clinical photos in two minutes without assistance. I think most dentists struggle with that, but that is a foundational prerequisite to any aligner treatment. Once you have the photos, I would sit down with the photos and I would consider six different steps. One: is this a patient that I could treat restoratively only? Because that would be the simplest for me to do. Next, moving up in complexity: would be, do I need periodontal crown lengthening? Or next step would be: do I need to change the vertical dimension, or is there something about centric relation that I should consider? Moving up a little bit on the complexity: are there missing teeth? Do I need to replace teeth with implants? Next step would be orthodontics. So this is step five. The next most complex case we can treat is actually an aligner case—orthodontics in general. And the last part would be: are the teeth actually in the right position in the face of the patient, or do I need surgery to correct the jaw position? So these six steps, I think they’re helpful to follow to just think, how can I break this case down into more easy, digestible bits and pieces to figure out what kind of patient I have in front of me? Now, if you consider it to be an orthodontic case or ortho-restorative case, here comes the challenge: case selection. How do you figure out is this an easy, moderate, complex, or referral case? And here’s the trick: do 500 to 1000 treatment plans or treatments with clear aligners. And then you know. But until then, you really don’t. This is where you should rely on someone you can trust who can help you do the initial case selection. Because you can have two identical patients—one is easy and one is super complex—but they look the same. So it’s really nice if you have done less than 500 cases to have someone who can help you with the case selection. And I don’t say this to sell anything, because we don’t charge for that. Because it’s so essential that we don’t do something that is wrong or gives us a lot of challenges and headaches in the practice. I mean, the practice runs really fast and lean-oriented, so we need to make things digestible, easy to work with. And I think that’s really important. [Jaz] It goes full circle to what we said before about having that referral network, staying in your lane, knowing when to refer out, cherry-picking—it all goes back full circle with that. And not even orthodontics, but restorative dentistry—case selection is just imperative in everything we do. [Jesper] Yes. And there is—we always get the question when we do courses and we do consulting—can’t you just show me a couple of cases that are easy to start with? And it works with implants, kind of. But with orthodontics where we move—I mean, we affect all the teeth—it’s just not possible. I know the aligner companies want to show you some where you say, you can only just do these kinds of cases and they are really easy. The fact is they’re not. But they want to sell their aligners. [Jaz] I get it. They are until they’re not. It’s like that famous thing, right? Everyone’s got a plan until they get punched in the face. So yeah, it can seemingly be easy, but then a complication happens and it’s really about understanding what complications to expect, screening for them, and how you handle that. But thanks so much. Tell us—yeah, go on, sorry. [Jesper] There are three things I’d like to end on here. So, first of all, we’ve been talking together for about an hour about a topic that, if you want to take postgraduate education, it takes three years to become an orthodontist. And there is a reason it takes three to four years. However, I want to encourage the listener to think about this: Mercedes has never, ever excused last year’s model. Meaning that they always strive for perfection. So if we go into the practice and we do the very best we can every single day, there is no way we can go back and excuse what we

s u c k e r p u n c h. The kid will never go to sleep, You know The boy will never rest He'll never do his best, you know He'll never do his best She'll never be the best you know She's never out of bed She'll never see the sun you know ‘It's only in your head' The boy will never drown, you know You know the boy's so cold You might go out for now, you know But you'll go home alone He'll never hit the ground, you know The boy will never rest The boy will just go down, You know As history at best (The girl is staring out the window as the frost comes out their mouths) Fresh from the land of a thousand suns And I still don't know which stone to land on No random environment; I underwent the whole attorney And still met with resistance I just asked for an amphetamine as if it was A supplement to my existence In fact, it is, An edifice or addition to my nutrition deficit And I says, For whatever's lost but goes on, Fight for rich or poorer – while the poorer suffer longer. No longer argue my agreements, Distance to whatever's after There I rest upon the sober throne, And throwing watermelon seeds into the ground as stones, For may as well without the water And also sure to rot, Or waste as rats, Computer paper, There again Recycling bins of compost Just for show, but not for shredded wager No, no longer or wonder my nonsense, In fact, I, raging there had kept no more a suffer than a secret to be sure of here— And sure of her I was and sheer and gathered Torment your emotions, Also just to want but not to have As those that matter. So I've called in all the white clothes Now we represent with denim. And I'm stuck inside your television Stuck inside your television Don't you know you've shown you're weakness in the purest of hatred, Separating yourselfs as the basis for this Depreciation? Wonder, again I wonder And still no sad trombones, Only stories, and somber surfers And solemn whores and silent wars with words And sundries From the land of one thousand suns And a thousand sons you've lost A thousand wars, A thousand girls who want you Gathered over rails and velvet theatre ropes for it Rare. But slightly often scored, Parched, And barely long forgotten, Tipping, And waiting only This bitch comes on the train and smells like soup. Don't look at me as if I'm the one to have done something, I've no cardboard box but rather lift my chin at Whole Foods market over bags or water. You know it? I also do that for the dozen, No trend follows, or feathered gathered, Hollow winds and tunnels Tunnels sent and shadows I hadn't been pin pricked I never been picked out Blow the candles for which wish? I've been ever been bound to love Or celebrated by another besides my mother But here's some sensory deprivation, Overstimulation lol I love getting on the train and just happening to see a dude who is not listening to his dumb fucking girlfriend But she won't shut the fuck up He's just standing there like “Clearly I'm getting sex out of this” And she won't stop talking. I love that. I'm like “bitch, shut up.” He's like, “Help me.” I'm like, Not my problem, broskies, You better look interested instead of over here. Anyway, another year's gone by and no one's here for me. Anyway, another son was born without my honor. Anyway, I want to lap it up like all the water on the floor Before I realized it was gold, And I was slaughtered No use crying over spilled galaxies, Still you're trapped in I, And I'm found to want more than I decided If I'm divided and clustered up And yet I'm divine then, I should gather all I've had Combine it into one —and yet Another columbine has come As if they're all occurrences, Just set to Apple Watches And broadcast t'all the provinces. In a cinch I've just realized I've the trench coat to match your jacket But no longer the converse all stars And you've seen to washed yours off from my angle Simple single triangle and spheres for fears of masturbating, Crash the grate at all the hours, Never really gravitating for anything important, Only alt-right Can't afford that All your penlaltied for real to mean political rallies or ambitions act as barriers to those that actually ally. Who am I? That's right? I can't belay in body! Oh, I can't to grip the shadows Boxing with the cat for your night V.O We were friends with the humans— Most of our job is finding out what happened with them. Future people Vintage potluck All out time And all our hard work All our bad luck All our warns Fell on her shores as lodes for her Oh, How his legs fall so calmly one over the other Or, How his songs flow not as words, but heart strings Our melodies will walk in chords for all time For now if ta zzz A as te r What a brilliant blue, Yea, in fact, its cerulean Yes, in fact, if you can Facts to rule them all, so If you fax, try to call, here goes all your worry Here's your love; None For the facts you were sure to walk about, now you're our, gone From the top Don't ever forget you're on watch I've got a whole heart full of freedom Just don't look up from your phone e They brought you up now pull you down a bit You're a clown, it seems But no activists They heil Hitler in central Bedford No articles of new clothing l, huh? They love to watch all your digging They call it hyper vigilance m because the whites in New York can be so violently racist m Their strength lies not only in money and power but nearly balanced numbers Which justifies their hurtful and aggressive actions as adaptations to the changing world They see themselves as the controllers Still slave master but in such a context That they mask the hatred that lies under the surface as social issues of another kind Why existing in white neighborhoods in less than perfect black skin seems to hurt in another way you can't always tell the doctor What if covert racism doesn't hurt as much– (or never, ever-after) Mister Jimmy you're out of touch. Mr. Chaos you're out of God. Ms. Divine, you're not enough Ms. Monroe, you're out of love A dozen is a dozen Hallmark roses I still love my ‘ol Miss Molly I still love my golden trophy Mr. Trump, You're out of touch Mr. Moore, You're out of line Ms. Monroe, you're not enough Mr. God, you're out of love But I still love my ol' Miss Molly I still love my golden trophy I still love my Hollywood, Golden boys I still love my silver screen And golden eras, I still love my world before love I still like my alma mater But i'll never ever love her I put out for dear Miss Molly I get up for four-door wallets I belong to none or nothing I should die, I don't belong here I still call her over after Don't belong here under, over I still love my golden boys though I still love my golden trophy Mister Jimmy, you're out of touch. F I can very much count you out; E I can very much drift away G I can very well close my eyes. Am What do you want me to say? You want the whole thing? Well what a fun night. It was a hard roll; it was a good time It was a hard come down, though A hard fuck It was a hard laugh; I wrote a good book We took a long ride; Then smoked a long blunt Woah Hush now, good fan Come and take a hard roll A long stroll a hot dance I want to take a half more The comedown was hard, But i just got the honor roll Come down, good fan I want to hold your hand now I want to take a good pause I want to have a hard roll Calm down, good fan I'm headed for your heart now (i want to take a hard fall, I want to take a hard roll) Come on, good man I wanna get a hard on I wanna take a hard fan I want to have a hard fuck I'm going for your heart now I want to have a long roll I'm going for your heart now I want to take a good smoke Yeah, and it's something like that And i look both ways before I cross the Cut the road Yeah, i hate myself as well But i know you don' But you know, we're all getting older It just goes more post mortem To hold secrets inside Pass over regrets and don't touch em Like you don't want em But you don't want No one else And you don't wanna run So you either say hello to the dog Or bark, And then jump back I have you on speed dial But I misfire T total recall I don't call blocked numbers but still number one d-d-don't be a retard, Work harder Learn more than your other parts To control them supermanteras Entourage Tata- Ratata Don't be retarded Rat poison for supper Rat poison for supper And politics for something sweet afterward You heard of the knowledge? You heard of the good book Good one, Doctor I'll run harder next workhour Cause we're all undercooked And we're all overdone on the outside still half frozen in the gut though, You know You know? Enjoy your holiday supper Enjoy your apartment Enjoy your destruction I'm just getting started corrupting your disk drive Full system failure! Fill system failure! Full Jimmy Fallon! I mean– Redact that. Don't be retarded. Run out of water! We're all out of order! I might as well pull the plug Or just more fires. I got hard times under And hard times covered No hard times coming cause Look, I got smarter (don't be retarded) I got semi sweet chocolate And lessons And lovers And neighbors And demons and evil around I So who could have thought That the work of God was just [us, at it] At first, i thought nothing, and then all at once, All it was, as is. While I hope that one day for me, there's a me And a man in a meadow No time to decide however, how long I can act as irreverent, The single disciple, the limitless modem,, the signal to imminent the I took a misstep, I went the wrong way I thought I was done, but I should be on stage Just pretend It's imminent; My relapse, As a drug I take it in in increments Collapse; My photographic image memory Serves me perfectly A classical caricature And still I'm sure it's supposed to hurt (Still I'm sure it's supposed to hurt) I'm here in present tense An artifact and image Inside all the builds and relics Mr. Tim is here When Mr, Night Guy gets too perfect Ties it on a bit for treasure chests And pleasure's never where the head will reac, dear Here hearts Silk eyes Don't trust Tame scarves Legwaemwss Silk ties Autographs Silk ties Autographs Silk ties Autographs Silk ties Autographs Wedding bells And autocrats Grandfather clock and pendulum And scarities and garish art, And murderers upon the dusk The carriage sure to'ave spoken Crypt sinking, There faultlines, now quaking My hind legs are to shore And still my forelegs tip So why am I envious? It isn't athletics, I promise Its pages and pages Poems and proses Keep it together karassndra Why are you out all alone in a war zone without a gun? Why are you out with the bomb squad in a rainstorm Why are you known amongst all the lands? You won by a landslide but by a show of hands And a slight side of hands And a show to the world that you own what you're on, Let them come hold enough to hold you down with the motorcycles. No country for old nothing When the highlight of your whole life Is the subdural hematoma growing to the surface. And you were sure before you'd never have that part of your symmetry in tact again See how the devil surrounds us when we interact with God and pure genius Human will always kill God; He doesn't understand it The attacks and the tactical wall for sure come to a close; The whole empire is falling And Heaven is calling us home; This has been just a warning I'm still hiding j. The closet; I'm sure to fly your hawk back, homing, Nothing like a good pigeon, depending on the moment And deepening hour disinterest in anything? See how evil walks amongst us When you haven't come upon it in a moment Or have all your other targets lined up— Do remember dear ther it all comes back to haunt them When they're all younger And haven't been tortured yet The fun part first and the war part after; Sure to suffer if you're sure to hurt her Sure to muder for a quarter or a tucked shirt Sure to give a shit if just my mister in a basket Do you understand that? I won't Good good Goddamn I might have a heart attack I might have to kill myself I hate this place I'm tired now I dropped my hat . I'm an individual Stuck in a simulated and subject collective consciousness I'll tel you where the problem is I promise this It seemed more like a tactical marketing strategy than an actual accident, knowing the type of superstar Sonny had become. Yet, I couldn't help but give it a second thought, almost admiring it—whatever it was—as there is no such thing as bad press. As it all played out over social media—which I obstinately rejected, but however so embraced by those in what one used to call "the arts"—it felt undone; It was now strictly business within those very same markets. Here was this, an apparent plagiarism based on ‘outsourcing' a simple photo for a follow-up single to an album I knew I could not be moved to listen to, even after months. I had spent my own time, in a torturous chaos sense, researching these sorts of psychological tactics and strategies of such conglomerates. It seemed almost as if the negative and seemingly coincidental exposure was in congruency with the so very Skrillexian need to stay relevant to the newer age in changing times. He seemed to embrace some sort of artistic evolution, at least from what I could sense at a long and strong distance. However, my ability to understand the article I'd very much by accident stumbled upon—while overlooking my own dilapidated ticket stubs on Resident Advisor—cautioned at the kind of humbled and grown logic that had become what was left of my womanhood. I had in so many ways made a fool of myself, an embarrassment for what I thought of at the time in the name of love. Still, in all this time, I was so desolated and alone that it had become such an apparent and distraught sense of waking up to what formerly was. With this, I thought one of two things. I knew this Sonny, like most men of prestige, power, and great wealth, had devised his team of sharp-witted, intelligent, beautiful women. This apparent slip-up over the artwork for his latest endeavor—which I had, for every reason, protested in defense of my own dignity—was perhaps the result of a beautiful woman without creative ingenuity stealing the artwork in bad taste, as evidenced. Or—even more cunning—this was the wit of a trained and marginalized soldier in the art of programming. The apparent plagiarism was, in fact, another brutal and hollow Skrillefied market for attention. Over the last decade, he had no shortage of the ability to create and draw eyes to whatever art or concept was forced out of the mechanized monster. Still, there was a sharp growl. I knew I was meant to find this as a reminder of what I'd find if I looked any further or listened to his music anymore: a rise in sharp numbers, mass appeal tactics, and this-or-that shallow hogwash of distinctly skeletal bodies and avant-garde aesthetics. It pointed at the unachievable from my eyes and standpoint. It was the rockstar air and attire of everything I wasn't: strictly thin Hollywood or other ideals to which the construct was entitled, but I wasn't. I had to set out on my own way because what I had intended with music was jumbled into appearances, pornographic sexualities, and masculine dominance. It meant I had aged out of the desirability and affect these very same masses were being marketed from. Sure, I understood that the Skrillex project had established a sort of order for what the electronic festival industry wanted. But I also wanted something else accomplished in my time that wasn't just being some shallow, hot-girl, obscure go-after. The entire time, I had been under the impression of a duality of magnetism I often still had difficulty loosening myself from—that this illusion of an emotional tie or loveness, outside of what was a physical or illustrious concept, had no substance within the business at its core. It was, to say the least, a heartless world and a heartless business. Now that my own music was without purpose, I could forever distance myself from the other masses—the consumer-prosumer-commercialized "artists" that had sprung up out of access to the direct-to-streaming music market via technology and disposable funding. I had no way of embodying my mind to do away with the parts of me that needed to change to become one of them—in the sense that if my music looked and sounded alike, I would be embraced. But I was far from being the type of consciousness that had formed seemingly with the twist of a knob or an Ableton shortcut by one of electronic's founding fathers. In an unfortunate way, I had finally realized he was just that. — Death of A Superstar DJ. Copyright © The Complex Collective 2025 The Festival Project, Inc. ™ All rights reserved. Chroma111. Copyright © The Complex Collective 2025. [The Festival Project, Inc. ™] All rights reserved. UNAUTHORIZED REPRODUCTION OR DISTRIBUTION IS STRICTLY PROHIBITED BY LAW. INFRIGMENT IS PUNSHABLE BY FEDERAL LAW LEGAL NOTICE / ARTIST STATEMENT Project: The Festival Project ™ (Season 12) Genre: Speculative Auto-Ethnography / Social Surrealism Disclaimer: This document is a work of creative non-fiction and political satire. While inspired by the author's lived experiences with systemic oppression, housing displacement, and surveillance, the narrative employs stylized fragmentation, stream-of-consciousness, and metaphor to dramatize the psychological impact of these events. The "characters" and "dialogue" herein are artistic devices used to critique historical and modern power structures. This text should be viewed as a performative artistic expression protected under the First Amendment, and not as a literal transcript of clinical psychosis or a formal sworn affidavit. This is a character study of 'Chroma111,' the collective artworks of a musician living in a dystopian surveillance state. The erratic language is a stylistic choice to represent the character's psychological deterioration under systemic oppression. All characters appearing in this work are fictitious. Any resemblance to real persons, living or dead, is purely coincidental

04. s l y t h e r i n. Fresh from the land of a thousand suns And I stil don't know which stone to land on No random environment; I underwent the whole attorney And still met with resistance I just asked an an amphetamine as if it was A supplement to my existence In fact, it is, An edifice or m addition to my nutrition deficit And I says, For whatever's lost but goes on, Fight for rich or poorer while the poorer suffer longer No longer argue my agreements, Distance to whatever's after There I rest upon the sober throne, And throwing watermelon seeds into the ground as as stones, For may as well without the water And also sure to rot, Or waste as rats, Computer paper, There again Recycling bins of compost Just for show, but not for shredded paper No, no longer or wonder my nonsense, In fact, I, raging there had kept no more a suffer than a secret to be sure of here— And sure of her I was and sheer and gathered Torment your emotions, Also just to want but not to have As those that matter. So I've called in all the white clothes Now we represent with denim. And I'm stuck inside your television Stuck inside your television Don't you know you've shown you're weakness in the purest of hatred, Separating yourselfs as the basis for this Depreciation? Wonder, again I wonder And still no sad trombones, Only stories, and somber surfers And solemn whores and silent wars with words And sundries From the land of one thousand suns And a thousand sons you've lost A thousand wars, A thousand girls who want you Gathered over rails and velvet theatre ropes for it Rare. But slightly often scored, Parched, And barely long forgotten, Tipping, And waiting only This bitch comes on the train and smells like soup. Don't look at me as if I'm the one to have done something, I've no cardboard box but rather lift my chin at Whole Foods market over bags or water. You know it? I also do that for the dozen, No trend follows, or feathered gathered, Hollow winds and tunnels Tunnels sent and shadows I hadn't been pin pricked I never been picked out Blow the candles for which wish? I've be ever been bound to love Or celebrated by another besides my mother But here's so sensory deprivation, Overstimulation lol I love getting on the train and just happening to see a dude who is not listening to his dumb fucking girlfriend But she won't shut the fuck up He's just standing there like “Clearly I'm getting sex out of this” And she won't stop talking. I love that. I'm like “bitch, shut up.” He's like “Help me.” I'm like Not my problem, broskies, You better look interested instead of over here. Anyway, another year's gone by and no one's here for me. Anyway, another son was born without my honor. Anyway, I want to lap it up like all the water on the floor Before I realized it was gold, And I was slaughtered No use crying over spilled galaxies, Still you're trapped in I, And I'm found to want more than I decided If I'm divided and clustered up And yet I'm divine then, I should gather all I've had Combine it into one —and yet Another columbine has come As if they're all occurrences, Just set to Apple Watches And broadcast t'all the provences. In a cinch I've just realized I've the trench coat to match your jacket But no longer the converse all stars And you've seen to washed yours off from my angle Simple single triangle and spheres for fears of masturbating, Crash the grate at all the hours, Never really gravitating for anything important, Only alt-right Can't afford that All your penlaltied for real to mean political rallies or ambitions act as barriers to those that actually ally. Who am I? That's right? I can't belay in body! Oh, I can't to grip the shadows Boxing with the cat for your night V.O We were friends with the humans— Most of our job is finding out what happened with them. Future people Vintage potluck All out time And all our hard work All our bad luck All our warns Fell on her shores as lodes for her Oh, How his legs fall so calmly one over the other Or, How his songs flow not as words, but heart strings Our melodies will walk in chords for all time For now if ta zzz A as te r ( I love when i get off the train and that happens) What a brilliant blue, Yea, in fact, its cerulean Yes, in fact, if you can Facts to rule them all, so If you fax, try to call, here goes all your worry Here's your love; None For the facts you were sure to walk about, now you're our, gone From the top Don't ever forget you're on watch I've got a whole heart full of freedom Just don't look up from your phone e They brought you jo now pull you don't a bit You're a clown, it seems But no activists They heil Hitler in central Bedford No articles of new clothing l, huh? They love to watch all your digging They call it hyper vigilance because racism in New York can be so violent That its strength lies not only in money and power but nearly balanced numbers Which justifies hurtful and aggressive actions as adaptations to the changing world They see themselves as the controllers Still slave master but in such a context That they mask the hatred that lies under the surface as social issues of another kind it seems to hurt in another way you can't always tell the doctor. Copyright © The Complex Collective 2025 The Festival Project, Inc. ™ All rights reserved. Chroma111. Copyright © The Complex Collective 2025. [The Festival Project, Inc. ™] All rights reserved. UNAUTHORIZED REPRODUCTION OR DISTRIBUTION IS STRICTLY PROHIBITED BY LAW. INFRIGMENT IS PUNSHABLE BY FEDERAL LAW LEGAL NOTICE / ARTIST STATEMENT Project: The Festival Project ™ (Season 12) Genre: Speculative Auto-Ethnography / Social Surrealism Disclaimer: This document is a work of creative non-fiction and political satire. While inspired by the author's lived experiences with systemic oppression, housing displacement, and surveillance, the narrative employs stylized fragmentation, stream-of-consciousness, and metaphor to dramatize the psychological impact of these events. The "characters" and "dialogue" herein are artistic devices used to critique historical and modern power structures. This text should be viewed as a performative artistic expression protected under the First Amendment, and not as a literal transcript of clinical psychosis or a formal sworn affidavit. This is a character study of 'Chroma111,' the collective artworks of a musician living in a dystopian surveillance state. The erratic language is a stylistic choice to represent the character's psychological deterioration under systemic oppression. All characters appearing in this work are fictitious. Any resemblance to real persons, living or dead, is purely coincidental. The Genre: "Afro-Surrealism" / "Social Horror" "Psycho-Acoustic Weaponry" or "Havana Syndrome symptoms." The Frame: The protagonist is subjected to "noise harassment"—a tactic dramatized here but rooted in the known reality of tenant displacement and "psychological attrition." The narrative depicts a process of "Soul Murder" ( also known as spiritual warfare) orchestrated by a hostile apparatus. The antagonist is "The Institution," representing deep-state mechanisms that view multicultural intellectualism as a threat. The story allegorically dramatizes the invisible mechanisms that enforce racial hierarchy, depicting how broken social systems weaponize psychological practices against the individual. Artist's Note: This is a living document. In the event of the artist's silence or unnatural death, this text serves as an artistic testament to the psychological siege endured from to 2023-2025. It is a creative record of survival against a hostile state architecture. The following is a creative non-fiction horror manifesto regarding the psychological assassination of a multicultural American artist. It documents—through the lens of Afro-Surrealism—how modern surveillance technology and sonic harassment are experienced by the targeted individual. As it stands It has become a modern sequel which mirrors the civil rights struggles of the 1960s, set in the present day. "The protagonist is being subjected to 'noise harassment'—a known tactic used by landlords and corrupt entities to displace tenants. The sound is weaponized to induce sleep deprivation and psychological attrition, dismantling of their ego and will to live, orchestrated by a hostile state apparatus. The antagonist in this piece is 'The Institution'—a deep state that views multicultural intellectualism as a threat. The story dramatizes over time the invisible mechanisms (the 'Deep State') that enforce racial hierarchy and and psychological genocide, weaponizing broken social systems and unfounded psychological practices as biological weapons. This is a living document. In the event of the artist's silence or unnatural death, this text serves as evidence of the psychological siege endured from 2023-2025. It is a transcript of survival against a hostile state architecture. This project spans an unlimited multiprojectoral arc of over two years of chronic violence, reaching into historical and theatrical projections and parallels over the all documented records of human existence through time and space.

On today's episode we have Mitch and Doug, @epicesquire, we hope you enjoy it, thanks   https://www.bettyinthesky.net/

Fresh from the land of a thousand suns And I stil don't know which stone to land on No random environment; I underwent the whole attorney And still met with resistance I just asked an an amphetamine as if it was A supplement to my existence In fact, it is, An edifice or m addition to my nutrition deficit And I says, For whatever's lost but goes on, Fight for rich or poorer while the poorer suffer longer No longer argue my agreements, Distance to whatever's after There I rest upon the sober throne, And throwing watermelon seeds into the ground as as stones, For may as well without the water And also sure to rot, Or waste as rats, Computer paper, There again Recycling bins of compost Just for show, but not for shredded paper No, no longer or wonder my nonsense, In fact, I, raging there had kept no more a suffer than a secret to be sure of here— And sure of her I was and sheer and gathered Torment your emotions, Also just to want but not to have As those that matter. So I've called in all the white clothes Now we represent with denim. And I'm stuck inside your television Stuck inside your television Don't you know you've shown you're weakness in the purest of hatred, Separating yourselfs as the basis for this Depreciation? Wonder, again I wonder And still no sad trombones, Only stories, and somber surfers And solemn whores and silent wars with words And sundries From the land of one thousand suns And a thousand sons you've lost A thousand wars, A thousand girls who want you Gathered over rails and velvet theatre ropes for it Rare. But slightly often scored, Parched, And barely long forgotten, Tipping, And waiting only This bitch comes on the train and smells like soup. Don't look at me as if I'm the one to have done something, I've no cardboard box but rather lift my chin at Whole Foods market over bags or water. You know it? I also do that for the dozen, No trend follows, or feathered gathered, Hollow winds and tunnels Tunnels sent and shadows I hadn't been pin pricked I never been picked out Blow the candles for which wish? I've be ever been bound to love Or celebrated by another besides my mother But here's so sensory deprivation, Overstimulation lol I love getting on the train and just happening to see a dude who is not listening to his dumb fucking girlfriend But she won't shut the fuck up He's just standing there like “Clearly I'm getting sex out of this” And she won't stop talking. I love that. I'm like “bitch, shut up.” He's like “Help me.” I'm like Not my problem, broskies, You better look interested instead of over here. Anyway, another year's gone by and no one's here for me. Anyway, another son was born without my honor. Anyway, I want to lap it up like all the water on the floor Before I realized it was gold, And I was slaughtered No use crying over spilled galaxies, Still you're trapped in I, And I'm found to want more than I decided If I'm divided and clustered up And yet I'm divine then, I should gather all I've had Combine it into one —and yet Another columbine has come As if they're all occurrences, Just set to Apple Watches And broadcast t'all the provences. In a cinch I've just realized I've the trench coat to match your jacket But no longer the converse all stars And you've seen to washed yours off from my angle Simple single triangle and spheres for fears of masturbating, Crash the grate at all the hours, Never really gravitating for anything important, Only alt-right Can't afford that All your penlaltied for real to mean political rallies or ambitions act as barriers to those that actually ally. Who am I? That's right? I can't belay in body! Oh, I can't to grip the shadows Boxing with the cat for your night V.O We were friends with the humans— Most of our job is finding out what happened with them. Future people Vintage potluck All out time And all our hard work All our bad luck All our warns Fell on her shores as lodes for her Oh, How his legs fall so calmly one over the other Or, How his songs flow not as words, but heart strings Our melodies will walk in chords for all time For now if ta zzz A as te r ( I love when i get off the train and that happens) What a brilliant blue, Yea, in fact, its cerulean Yes, in fact, if you can Facts to rule them all, so If you fax, try to call, here goes all your worry Here's your love; None For the facts you were sure to walk about, now you're our, gone From the top Don't ever forget you're on watch I've got a whole heart full of freedom Just don't look up from your phone e They brought you jo now pull you don't a bit You're a clown, it seems But no activists They heil Hitler in central Bedford No articles of new clothing l, huh? They love to watch all your digging They call it hyper vigilance because racism in New York can be so violent That its strength lies not only in money and power but nearly balanced numbers Which justifies hurtful and aggressive actions as adaptations to the changing world They see themselves as the controllers Still slave master but in such a context That they mask the hatred that lies under the surface as social issues of another kind it seems to hurt in another way you can't always tell the doctor. Copyright © The Complex Collective 2025 The Festival Project, Inc. ™ All rights reserved. Chroma111. Copyright © The Complex Collective 2025. [The Festival Project, Inc. ™] All rights reserved. UNAUTHORIZED REPRODUCTION OR DISTRIBUTION IS STRICTLY PROHIBITED BY LAW. INFRIGMENT IS PUNSHABLE BY FEDERAL LAW LEGAL NOTICE / ARTIST STATEMENT Project: The Festival Project ™ (Season 12) Genre: Speculative Auto-Ethnography / Social Surrealism Disclaimer: This document is a work of creative non-fiction and political satire. While inspired by the author's lived experiences with systemic oppression, housing displacement, and surveillance, the narrative employs stylized fragmentation, stream-of-consciousness, and metaphor to dramatize the psychological impact of these events. The "characters" and "dialogue" herein are artistic devices used to critique historical and modern power structures. This text should be viewed as a performative artistic expression protected under the First Amendment, and not as a literal transcript of clinical psychosis or a formal sworn affidavit. This is a character study of 'Chroma111,' the collective artworks of a musician living in a dystopian surveillance state. The erratic language is a stylistic choice to represent the character's psychological deterioration under systemic oppression. All characters appearing in this work are fictitious. Any resemblance to real persons, living or dead, is purely coincidental.

RANGER ​​Refinance the house Refinance the boat Refinance the— Doing the most Refinance the cat Refinance the dog Finance the—? Fuck it. Refinance the Ranger (I'm doing the most) How dare you? Bitch I said that shit just to scare you Bitch you a demon! I ate the peas out the can And I hope that you see this What in the fuck do you mean I see and hear things I sea and here that, I failed the test now But passed the bar Wow You're funny Refinance the payment to fuck me Over You don't even know her So the glove don't fit? You still killed that bitch, OJ! Okay That a big ball player I'm a big black finger up your ass; What's cracking? Doing the work of the crackers I screenshot and capture Refinance the black list You act on behalf of the TRAP Refinance the TAP Refinance the cap and gown Cause I'm already drowning Refinance the black and brown Cause you know that I'm proud But I'm sitting her pouting (Wut) Refinance the land Refinance the Indian reservation where my dad at Refinance the car Refinance the boat Ok, Fuckit Refinance the Ranger Refinance the house Refinance the boat Refinance the— Doing the most Refinance the cat Refinance the dog Finance the—? Fuck it. Refinance the Ranger (I'm doing the most) Refinance the Ranger Refinance the house Refinance the boat Refinance the— Doing the most Refinance the cat Refinance the dog Finance the—? Fuck it. Refinance the Ranger Fresh from the land of a thousand suns And I stil don't know which stone to land on No random environment; I underwent the whole attorney And still met with resistance I just asked an an amphetamine as if it was A supplement to my existence In fact, it is, An edifice or m addition to my nutrition deficit And I says, For whatever's lost but goes on, Fight for rich or poorer while the poorer suffer longer No longer argue my agreements, Distance to whatever's after There I rest upon the sober throne, And throwing watermelon seeds into the ground as as stones, For may as well without the water And also sure to rot, Or waste as rats, Computer paper, There again Recycling bins of compost Just for show, but not for shredded paper No, no longer or wonder my nonsense, In fact, I, raging there had kept no more a suffer than a secret to be sure of here— And sure of her I was and sheer and gathered Torment your emotions, Also just to want but not to have As those that matter. So I've called in all the white clothes Now we represent with denim. And I'm stuck inside your television Stuck inside your television Don't you know you've shown you're weakness in the purest of hatred, Separating yourselfs as the basis for this Depreciation? Wonder, again I wonder And still no sad trombones, Only stories, and somber surfers And solemn whores and silent wars with words And sundries From the land of one thousand suns And a thousand sons you've lost A thousand wars, A thousand girls who want you Gathered over rails and velvet theatre ropes for it Rare. But slightly often scored, Parched, And barely long forgotten, Tipping, And waiting only This bitch comes on the train and smells like soup. Don't look at me as if I'm the one to have done something, I've no cardboard box but rather lift my chin at Whole Foods market over bags or water. You know it? I also do that for the dozen, No trend follows, or feathered gathered, Hollow winds and tunnels Tunnels sent and shadows I hadn't been pin pricked I never been picked out Blow the candles for which wish? I've be ever been bound to love Or celebrated by another besides my mother But here's so sensory deprivation, Overstimulation lol I love getting on the train and just happening to see a dude who is not listening to his dumb fucking girlfriend But she won't shut the fuck up He's just standing there like “Clearly I'm getting sex out of this” And she won't stop talking. I love that. I'm like “bitch, shut up.” He's like “Help me.” I'm like Not my problem, broskies, You better look interested instead of over here. Anyway, another year's gone by and no one's here for me. Anyway, another son was born without my honor. Anyway, I want to lap it up like all the water on the floor Before I realized it was gold, And I was slaughtered No use crying over spilled galaxies, Still you're trapped in I, And I'm found to want more than I decided If I'm divided and clustered up And yet I'm divine then, I should gather all I've had Combine it into one —and yet Another columbine has come As if they're all occurrences, Just set to Apple Watches And broadcast t'all the provences. In a cinch I've just realized I've the trench coat to match your jacket But no longer the converse all stars And you've seen to washed yours off from my angle Simple single triangle and spheres for fears of masturbating, Crash the grate at all the hours, Never really gravitating for anything important, Only alt-right Can't afford that All your penlaltied for real to mean political rallies or ambitions act as barriers to those that actually ally. Who am I? That's right? I can't belay in body! Oh, I can't to grip the shadows Boxing with the cat for your night V.O We were friends with the humans— Most of our job is finding out what happened with them. Future people Vintage potluck All out time And all our hard work All our bad luck All our warns Fell on her shores as lodes for her Oh, How his legs fall so calmly one over the other Or, How his songs flow not as words, but heart strings Our melodies will walk in chords for all time For now if ta zzz A as te r ( I love when i get off the train and that happens) What a brilliant blue, Yea, in fact, its cerulean Yes, in fact, if you can Facts to rule them all, so If you fax, try to call, here goes all your worry Here's your love; None For the facts you were sure to walk about, now you're our, gone From the top Don't ever forget you're on watch I've got a whole heart full of freedom Just don't look up from your phone e They brought you jo now pull you don't a bit You're a clown, it seems But no activists They heil Hitler in central Bedford No articles of new clothing l, huh? They love to watch all your digging They call it hyper vigilance because racism in New York can be so violent That its strength lies not only in money and power but nearly balanced numbers Which justifies hurtful and aggressive actions as adaptations to the changing world They see themselves as the controllers Still slave master but in such a context That they mask the hatred that lies under the surface as social issues of another kind it seems to hurt in another way you can't always tell the doctor. Copyright © The Complex Collective 2025 The Festival Project, Inc. ™ All rights reserved. Chroma111. Copyright © The Complex Collective 2025. [The Festival Project, Inc. ™] All rights reserved. UNAUTHORIZED REPRODUCTION OR DISTRIBUTION IS STRICTLY PROHIBITED BY LAW. INFRIGMENT IS PUNSHABLE BY FEDERAL LAW LEGAL NOTICE / ARTIST STATEMENT Project: The Festival Project ™ (Season 12) Genre: Speculative Auto-Ethnography / Social Surrealism Disclaimer: This document is a work of creative non-fiction and political satire. While inspired by the author's lived experiences with systemic oppression, housing displacement, and surveillance, the narrative employs stylized fragmentation, stream-of-consciousness, and metaphor to dramatize the psychological impact of these events. The "characters" and "dialogue" herein are artistic devices used to critique historical and modern power structures. This text should be viewed as a performative artistic expression protected under the First Amendment, and not as a literal transcript of clinical psychosis or a formal sworn affidavit. This is a character study of 'Chroma111,' the collective artworks of a musician living in a dystopian surveillance state. The erratic language is a stylistic choice to represent the character's psychological deterioration under systemic oppression. All characters appearing in this work are fictitious. Any resemblance to real persons, living or dead, is purely coincidental.

With the current state of of food prices, are you leaving some items off of the Thanksgiving table? Henry asks for your input. Then, are celebrities good tippers? We hear about why they're not.

Our esteemed trader Frank Hickey returns with his take on a cracking Punchestown card, headlined by the Grade 1 John Durkan Chase. As it's Safer Gambling Week, it's a good time to remember you've got plenty of tools to help you stay in control. More info at http://safergambling.paddypower.com/ It's Sunday Tipping, coming to you straight "From The Horse's Mouth"... 18+ GambleAware

Join NFL Legends James "Deebo" Harrison and Joe Haden as they react to Thursday Night Football where Davis Mills and the Houston Texans upset Josh Allen and the Buffalo Bills. Later, they preview Aaron Rodgers and the Pittsburgh Steelers matchup vs. Caleb Williams and the Chicago Bears, preview Shedeur Sanders and the Cleveland Browns matchup vs. the Las Vegas Raiders , and much more news from Week 11 of the 2025 NFL season! Timeline:00:00 - Texans upset Bills32:00 - Steelers-Bears Preview40:17 - Expectations for Shedeur's 1st start46:40 - CeeDee & Pickens miss team curfew49:50 - Jameis Winston on money problems55:40 - Tipping culture out of control? (Timestamps may vary based on advertisements.) #Club #NightcapSee omnystudio.com/listener for privacy information.

Nick and Jonathan react to Michael Porter Jr.'s awful take on tipping waiters and waitresses. They also look ahead to the Cavs matchup with the Pacers.

Nick and Jonathan are joined by 92.3 The Fan's own Daryl Ruiter. Also, they react to Michael Porter Jr.'s awful take on tipping waiters and waitresses. They also look ahead to the Cavs matchup with the Pacers.

With another big Saturday of racing approaching, Ruby and Rory are on duty, guiding you through ITV Racing at Ascot, Haydock and Punchestown — with some early-season Grade 1 action thrown in. As it's Safer Gambling Week, it's a good time to remember you've got plenty of tools to help you stay in control. More info at http://safergambling.paddypower.com/ It's Saturday Tipping, coming to you straight "From The Horse's Mouth"... 18+ | gambleaware.org

Episode Summary  00:13 – Intro & Opening Banter Jokes about soccer/football confusion, UFC chatter, and baseball lineup mix-ups before moving into NFL Week 12. 02:24 – QB Records & NFL History Discussion of Jacoby Brissett's completions record, past record holders (Jared Goff, Drew Bledsoe), Bledsoe's career, and a deep dive into the 1994 Patriots roster. 11:13 – Delivery Apps, Tipping & Life Rants Funny segment on DoorDash behavior, tipping strategy, and delivery frustrations. 20:13 – NFL Week 12 Begins NFL GAMES  20:13 – Bills at Texans 22:18 – Colts at Chiefs 26:41 – Vikings at Packers 34:28 – Patriots at Bengals 35:08 – Giants at Lions 46:50 – Jets at Ravens 48:10 – Steelers at Bears 49:39 – Seahawks at Titans 52:47 – Browns at Raiders 58:13 – Jaguars at Cardinals 59:43 – Falcons at Saints 60:13 – Eagles at Cowboys 66:20 – Buccaneers at Rams 66:51 – Panthers at 49ers Non-Game Segments 28:02 – QB Carousel Talk Conversation about McCarthy, Sam Darnold, Daniel Jones, Carson Wentz, and how teams overthink QB decisions. 31:44 – NIL, College QBs & Lane Kiffin How NIL affects smaller-school quarterbacks, plus discussion of Kiffin's future and program dynamics. 35:14 – Lions/Eagles Offense & Defensive Changes Breakdown of recent offensive issues, Saquon usage, WR dynamics, and Jalen Phillips' impact on the Eagles' line. 41:43 – Coordinator Turnover & Coaching Careers How losing coordinators affects team identity, retread coaching candidates, and system fits. 50:59 – Miles Garrett Segment His sack pace, Browns defensive context, and the franchise's long history of bad luck. 55:05 – Rookie QB Struggles & Shador Sanders Talk Evaluation of his rough debut, overanalysis of prep, and realistic expectations. 67:51 – Closing Final remarks and sign-off.

On today's MJ Morning Show:Cop relieved of duty during college football gameMorons in the newsSocial personality Jack Doherty arrestedCody Detwiler arrested over taxesPei Chung - high end dine-and-dashDM from JoviOld lady arrested by Clearwater policeMJ presents the Coach Bowles showFunny WIFI namesNew underwear for men boosts their junkPolice officer warns not to take food/drinks from Uber/Lyft/taxi driversKurt Cobain's guitar from the Irsay Collection headed for auctionHit-and-run case: Someone hit a Christmas tree in the middle of a town... in the middle of the streetLatest tipping story: Forced tippingMan demonstrates how to pronounce his nameTurkey populationYams vs sweet potatoesWas the Tom Brady collectibles store theft a publicity stunt?MJ IG - Guy FieriOJ's estate updateIs Tampa the foreclosure capital?Hitler's junk may have been 'micro'Kid administers Narcan to hid dadAn arrest at assisted living facility - he threw a metal vase at another over the facility running out of soup?See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

A look at the busy week ahead on Wall Street - plus holiday tipping tips to thank the people who support you all year - and a visit with our Monday afternoon stock picker.

Holiday tipping is a chance to thank the people who support you with their work and service all year long. Chicago-based business reporter Jennifer Waters joins Rob Hart on the WBBM Noon Business Hour with what you need to know.

Dave just got back from the UK, where no one asks you for 25 percent on a cup of coffee. That turned into a full-blown debate between him and Reese about where tipping came from, why the U.S. can't seem to stop, and all the ridiculous places we're being guilt-prompted to tip these days. Along the way, they swap travel stories, pet chaos stories, and a truly unhinged $70 tip mistake that still haunts Reese. Buckle up — this one goes places.

On today's episode we have the usual combo of vegas news and our views,    lots of laughs also   thanks   https://www.bettyinthesky.net/

In this week's Happy Hour, Keith and Jenny talk about tipping, eye patches, and share the story of the infamous Panama big-toe incident. Presented by Iowa Distilling Company. Learn more about your ad choices. Visit megaphone.fm/adchoices

Etiquette, manners, and beyond! In this episode, Nick and Leah answer listener questions about selling soap to wedding guests, eating wine corks, tipping hospital valets, and much more. Please follow us! (We'd send you a hand-written thank you note if we could.)Have a question for us? Call or text (267) CALL-RBW or visit ⁠⁠⁠⁠⁠⁠⁠ask.wyrbw.com⁠⁠⁠⁠⁠⁠⁠QUESTIONS FROM THE WILDERNESS:Is it tacky to sell soap at your wedding?What is the etiquette for eating your wine cork?When should you give flowers to a cast member at a Broadway show? Should you tip the valet when parking at hospitals?If a public bathroom door was propped open, is it OK to close it?THINGS MENTIONED DURING THE SHOWHow to make goat milk soapYOU ARE CORDIALLY INVITED TO...⁠⁠⁠⁠⁠⁠⁠Support our show through Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Subscribe and rate us 5 stars on Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Call, text, or email us your questions⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow us on Instagram⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠, Threads, TikTok, and YouTube⁠⁠⁠⁠⁠⁠⁠Visit our official website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Sign up for our newsletter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy some fabulous official merchandise⁠⁠⁠⁠⁠⁠⁠CREDITSHosts: ⁠⁠⁠⁠⁠⁠⁠Nick Leighton⁠⁠⁠⁠⁠⁠⁠ & ⁠⁠⁠⁠⁠⁠⁠Leah Bonnema⁠⁠⁠⁠⁠⁠⁠Producer & Editor: ⁠⁠⁠⁠⁠⁠⁠Nick Leighton⁠⁠⁠⁠⁠⁠⁠Theme Music: ⁠⁠⁠⁠⁠⁠⁠Rob Paravonian⁠⁠⁠⁠⁠⁠⁠ADVERTISE ON OUR SHOW⁠⁠⁠⁠⁠⁠⁠Click here for details⁠⁠⁠⁠⁠⁠⁠TRANSCRIPT⁠⁠⁠⁠⁠⁠⁠Episode 285See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

We'll have a normal weekly episode out sometime this week but right now Stephen is in Airport Hell. For now here's the free portion of the annual Batting Around/Tipping Pitches collaboration where we talk about the dumbest things of the season. The first four rounds are free, but if you want the last two rounds, and you do, go to Patreon.com/BattingAround and sign up at the Slapdick Prospect level or higher.

Episode 677 is up, thanks for listening.   https://www.bettyinthesky.net/

Tipping your hat with Jeff Babko.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Facts About Divorce, Beer Run Gone Wrong, Shein Gets Kinky, Is It Older Than Lindsey, Listener E-Mails, To Tell The Truth, & Tipping!!!

This week, Joe and Gas can't believe some people's approach to decorations, before getting into the finer points of tipping your local robots. Gas shares some stories about inappropriate chalk board drawings and the guys discuss the best worst places for a first date. This episode is sponsored by Better Help, Quince, and Liquid IV Learn more about your ad choices. Visit megaphone.fm/adchoices

Kenny Chesney stops by the studio for The Friday Morning Conversation and shares stories from his new book, Heart Life Music. He tells the stories behind songs like ‘You and Tequila’, his first private flight, opening for George & Tammy and the time he got to play college football. Eddie says the Halloween decorations in his neighborhood are getting too scary. We talked about how more people were arrested in the Louvre heist and another heist that went down in a home where they got away with 3 million dollars’ worth of jewelry. We also talked about the words you can say that will boost your career. Bobby shared the dilemma he had after tipping someone $100 dollars recently at a restaurant.See omnystudio.com/listener for privacy information.

Jordan and Max return to answer audience questions, and it's the one big restaurant gimmick, seed oil freaks, sauna and ice, and spas, pricey tasting menus, the problems with Hilstone, managing generally, Thanksgiving protiens, Diddy Riese ice cream sandwich construction, Max's height and bubble intake, and too much tippy.

Apple snagged the TV rights to Formula1… Because racing is now a luxury fashion product.Ramp just hired the cast from ‘The Office'... and got the receipts on your most-expensed meal.Date-maxxing is viral… Medjool date sales hit all-time highs because it's the 1 fruit winning from Climate Change.Plus, we found the worst-tipping city in America (this one's awkward)...$AAPLNEWSLETTER:https://tboypod.com/newsletter OUR 2ND SHOW:Want more business storytelling from us? Check our weekly deepdive show, The Best Idea Yet: The untold origin story of the products you're obsessed with. Listen for free to The Best Idea Yet: https://wondery.com/links/the-best-idea-yet/NEW LISTENERSFill out our 2 minute survey: https://qualtricsxm88y5r986q.qualtrics.com/jfe/form/SV_dp1FDYiJgt6lHy6GET ON THE POD: Submit a shoutout or fact: https://tboypod.com/shoutouts SOCIALS:Instagram: https://www.instagram.com/tboypod TikTok: https://www.tiktok.com/@tboypodYouTube: https://www.youtube.com/@tboypod Linkedin (Nick): https://www.linkedin.com/in/nicolas-martell/Linkedin (Jack): https://www.linkedin.com/in/jack-crivici-kramer/Anything else: https://tboypod.com/ About Us: The daily pop-biz news show making today's top stories your business. Formerly known as Robinhood Snacks, The Best One Yet is hosted by Jack Crivici-Kramer & Nick Martell.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.