Podcasts about Ugh

When we have these intimate conversations, maybe with a girlfriend or online, most women are pretty well-versed on their bloating, cramping or sore boobs. But when it comes to periods/menstrual conversations, it always seems to lead us to period poop. So let's talk about that in this episode with Dr. Oakley & Holly. We go over your questions about period poop in this episode like: 1. Why do we poop so much on our period? 2. Why does it feel like the worst poop ever? 3. Why can't I poop on my period? 4. Does anyone have problems pooping if they are wearing a tampon? I do. Ugh Why does it feel like the worst poop ever?! From front to back are your bladder, your uterus, and your rectum. These organs are all spooning together, like 3 P's in a pod (period, poop, and pee). Menstrual cramps can trigger the neighboring organs — if your uterus lays back a little, when you get menstrual cramps the pain can seem like it's coming from your rectum and makes you feel like you have to go poop, even out of nowhere, UGH!!! Thank you for listening. Please send in your comments, questions and suggestions for future topics at TheLadyBodPod@gmail.com. For more details on the LBP: https://theladybodpod.com.

We are hearing the ripple effects of this podcast and not afraid to tawk about it!  Grab your cawwwwffee and get ready we're tawwking about you - people who don't listen to victims and double down to defend your own benefits... In this episode we talk about people who are publicly buckling down hard defending Baptiste Yoga and Baron instead of listening to those who are telling their true stories of harm. We talk about how to respond to these people until wait -- they blocked me and erased my comments anyway???!!!! In other words...  "I'm going to ignore your harm and let me tell you how great it is for me!" We hear your "I've got mine-ism.” We talk about the latest ALBC episode about Bentinho Massaro's cult and the whistleblowers saying “I never imagined people would not believe me.” We can relate! Do you think they believe us or not? They were our friends. Or they said they were. “The good outweighs the bad.”  (file under 'things cult members say') People are listening to our podcast in their yoga teacher training! The discussions hopefully raise awareness and questions... "Can you still use the methodology and not do harm?"   "Does the good outweigh the bad?"   "Do the ends justify the means?" "If you're paying attention to people who have been abused, can you still justify it?" Other cawwwffee cult tawwwlk tawwwwpics include: What do I do now… I teach at an affiliate, how do I talk to the studio owners? What is the answer? What do I teach now? Should I even teach JIP anymore? "I Got Mine-ism" galore. If it didn't happen to you did it even happen? Ugh! Talking about people who credit Baron for their success. How did we personally transition out of Baptiste and how did we begin the healing process? All this and more! Also send us your Q's for our upcoming Q & A episode DM us at @yogacultspod on IG or send us a voice message here https://anchor.fm/yogacultspod1029/message --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Ugh. It seems like this thought rolls through on the regular, "Well, it's time to diet again." What if it was possible to end our love/hate relationship with food and live in peace? Kassandra Baker, Certified Health, Life, and Mental Health Coach, says that peace can be our new reality! Speaking from her own personal experience and recovery from two eating disorders, Kassandra leads us to freedom from diet culture.

After being down for the count over the weekend (sick - UGH) we are BACK!  Jeff Woodhead is strapped into the Hot Seat.  Let's see how he does! Are you enjoying the show? www.patreon.com/ptebb   Facebook: The Lounge: Fans of Pub Trivia Experience & Boozy Bracketology Twitter: @PubTriviaPod Instagram: Pub Trivia Experience PubTriviaExperience@gmail.com   Don't forget – Leave us a 5 Star Rating and write us a review   Enjoy The Show!

Bienvenidos al podcast con Anne Ganguzza y Pilar Uribe! In this episode, your hosts cover how creating a great demo can get you booked without auditioning, the versatility of having multiple demos, and how being kind to everyone you meet is really the most underrated marketing technique…   Transcript >> It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza.   Pilar: Hola, BOSS Voces. Bienvenidos al podcast con Anne Ganguzza y Pilar Uribe.   Anne: Hey everyone. Welcome to the VO BOSS podcast. I'm your host Anne Ganguzza, and I'm happy to welcome back with me as special guest cohost Pilar Uribe. Pilar, how are you today?   Pilar: I'm doing great, Anne. ¿Tú cómo estás?   Anne: I don't know. Sí.   Pilar. Just say bien, just say bien.   Anne: Bien, bien.   Pilar: Bien covers it all.   Anne: Everybody will follow my own journey as I learn Spanish. Thank you. And I learned to be as -- the best bilingual voice artist I can be, but let me talk about another language, another language of love which it comes from my VO studio kitty Sebrina today. I noticed, Pilar, you know how animals, they have that sense. When you're a cat lover and a cat lover walks into my home, my cats know it. And I have to tell you that my little Sebrina, who is the most sociable of the three VO studio cats that I have, she's usually the first one that will come down and greet people, if she feels that they are sufficient --   Pilar: Worthy.   Anne: -- cat lovers. Yes.   Pilar: If they're worthy of her attention.   Anne: So I have to tell you that the last two times we've been recording, she has been scratching at my studio door, and she just doesn't do that. And I know, I know that she hears you because I have inside and outside headphones. And so what I hear here in my headphones in the booth are also kind of projecting outside my booth through my headphones. So I know she hears you. There's no other reason to explain why she's scratching at the door.   Pilar: Oh, I love that.   Anne: Like she must hear your voice.   Pilar: That's so cute.   Anne: She must hear your voice. And she must know that there's yet another cat lover with me, and she's scratching to get into the studio.   Pilar: And she knows there's a possible suitor right outside.   Anne: That's right. Exactly.   Pilar: Paco. Oh yeah.   Anne: Paco. Yes, she probably feels it. I'm telling you.   Pilar: They know, they know these things. They know.   Anne: They do. They know everything. Wow.   Pilar: We're just their, their custodians. They're the ones who rule.   Anne: Exactly. So I had to tell you that story, you know, because we share, we share a love for studio cats, for sure.   Pilar: So I can say, I can give a little shout out. Hola Sebrina, ¿cómo estás?   Anne: Oo. She's going to hear the scratching soon. I'm telling you. So we had a great conversation on our last podcast about being a bilingual voice talent and what it takes to, I guess, be successful in the industry. And I want to continue that to go a little bit more in detail. So if there are beginners out there or people just entering into the industry that want to market themselves as a bilingual voice talent, what are the steps that it would take for them to do so successfully? First of all, I think you must have some sort of a demo, right, that showcases that you have this talent. What are your thoughts about a demo and how you can successfully market yourself as bilingual through your demo or not, or what works for you?   Pilar: Okay. So since I started out in the world of voiceover without any like really any information -- I mean in the world of dubbing, that's what I meant -- they knew I spoke English, they knew I spoke Spanish, so I could do both. And I just kind of jumped in. I did not have a voiceover agent until I got to Los Angeles. So I had to get my own work. And that meant a lot of knocking on doors, talking to other actors and saying, okay, where are you, where are you working? What studios are you working in? And there aren't that many in Miami.   Anne: And you're talking physical knock. I'm just going to clarify this --   Pilar: Oh yeah.   Anne: -- you mean like physically networking with other people, which today really translates into online, right? Maybe --   Pilar: Yes.   Anne: -- groups and online, online networking groups. But yeah, you had to physically become a good networker.   Pilar: Yes. Thank you for telling me that, because, because I don't even realize. I think it's interesting because you know, you get to a place -- you know, I'm talking to you here. I earned my living doing this and it's, it's really, when you go back, and I'm looking at my, my past, everyone thinks, oh, oh, she's doing this. She has it all. Oh, it's oh, it's like really easy. Look at her. And every single step that you make is, it's like, you're climbing up the mountain, and then you slide back down and then you climb up the mountain, and you slide back down a little bit.   Anne: Yeah.   Pilar: And it's a lot of walking --   Anne: You claw your way up the mountain.   Pilar: -- you, you literally crawl your way up the mountain. My, um, my ex mother-in-law, God bless her, told me one time when I was learning something many, many years ago, she said as much as you may learn and then fall back, and, and if you're, if it's another language or if it's a new profession, you're never going to be at the point where you don't know anything. Once you start learning, you can't say you don't know anything because you actually know something now about that subject. And I, that's just something that I've always taken with me.   Anne: Yeah, that's a cool perspective. Yup.   Pilar: Because the more I learn -- yeah, right? Because the more I learn, the more I realize, oh, okay. I don't know about so much more.   Anne: Exactly.   Pilar: But there's other stuff that I do know now. So I just, I kind of bring it all. You know, my, my little lump of knowledge gets bigger and bigger. And so when I first started dubbing, as I said in a couple, couple episodes before, I just, it was luck that I got the job, but it was because I had been auditioning so many times before for these different studios -- no, excuse me, for this one studio.   Anne: But was it really luck, Pilar? If I ask you to think that back, was it really luck? Because you had really been working, uh, networking with people and getting to know people, and I'll tell you, the first rule of marketing is people buy from people they know, like, and trust. And so I think you might've been establishing that relationship in working in those studios when they said, you know what? We need somebody to do this dubbing job. And boom, guess who's top of mind? There you are. Just a thought.   Pilar: Okay, for those VO voces, those BOSS Voces who are listening to Anne for the first time, you got to go take classes with this woman, because she's completely turning my story around. And I'm sitting there, like my brains are like going, whaat?   Anne: I love it. You're a marketer. It's so funny, the parallels, right?   Pilar: I don't even know how I did it, but you're basically showing me all this stuff that I did without me even realizing it. So thank you for that.   Anne: Well, it's cool because we, we get to work it backwards now because now --   Pilar: Yes.   Anne: -- people just entering in the business, are they networking online? How are they networking? And maybe they should consider all versions of networking because it all helps you, you know, to get where you need to go.   Pilar: We're doing it, we're doing reverse engineering.   Anne: Yeah, exactly. Exactly.   Pilar: So reverse engineering a lot of the times means, and again, I'm not saying I do this, but when I have an interaction with somebody, I always keep them in my mind, and I send them an email, and I let them know what I'm doing. Because a lot of the time -- it's, it's basically being and not stalking them and not being obnoxious about it, but so they know that you're around. You know, for so many months before I actually got my first dubbing gig, I didn't get any response. And the same thing happened when I, when, when I started working for NPR. I didn't hear anything for months and months and months. And what I realized is that marketing is always the long game.   Anne: Isn't it? Ugh, yes.   Pilar: It's, it's the long game --   Anne: That's it, we can go home now Pilar, because that was, that was the wisdom, that nugget of wisdom. It is, it's a long game. So many people want that instant result.   Pilar: Yeah, because we have, we're exposed to instant gratifications through our cell phones, through our laptops.   Anne: Yup.   Pilar: And what it is is that it's basically putting a tiny grain of sand into the atmosphere and letting it go there. It might come back. It might not, but every single time you do it, you're sending the energy out of, I'm a voiceover artist. I can do this for you.   Anne: Yeah, absolutely.   Pilar: And eventually that does come back.   Anne: Yes.   Pilar: So I get my first gig and then I'm thinking, okay, I want more. So then I start asking questions. I started asking my actor friends and like, oh, you're with this studio. How do you get into this studio? And it turns out that the person who recommended me to work in the first studio is also now working part-time in the second studio. So I call him up and I say, hey, you know, what's going on? And they're like, oh, okay, well, I don't really have anything for you now, but maybe. So I was like, okay, great. And then, boom. Maybe I make a call or maybe he calls me again. And then the chain starts happening. So that's really what it became.   So at one point I was working for four different studios and, you know, making these connections and then slowly but surely. So then you reach a point, right? I want more. So then I go into the audiobook world, and I start doing that. And then a big part of my, my voiceover journey was Fafcon because --   Anne: Yup.   Pilar: -- I went and that's --   Anne: Networking.   Pilar: -- when I experienced. Yeah. That's when I experienced, I was like, oh, these people actually make a living at it full-time, because I'm sitting here running around, you know, with four different studios.   Anne: Sure.   Pilar: And I'm sure trying to deal with the whole audiobook thing. And, and they're like, oh no, we have our clients. We have our IVR. We have our people who call us up every so often. And we, and I'm like, oh, that's a new concept. And I had no idea about this part of the business.   Anne: You were learning about now these are all different genres. You were just doing dubbing --   Pilar: Yes.   Anne: -- and then you started with the audiobooks. Interesting about the audiobooks. And I'm going to say that might've been a few years back, right? There was no ACX back then, right? So --   Pilar: No, actually I started with ACX.   Anne: Oh, you did? Okay.   Pilar: So, so it was more recent.   Anne: Oh, okay, so it was recent then.   Pilar: 2012.   Anne: Oh, okay.   Pilar: They had just started 2013. They had --   Anne: Still that's a --   Pilar: -- they hadn't been around that long.   Anne: -- that's a while. Yeah. That's a while. That was when they just started, I believe. So, okay. And right there for audiobooks, that was kind of a, a cool thing because it was online, and you didn't have to necessarily have a demo to present. They were basically just offering you work and you could audition and not necessarily have to present a demo to get work there.   Pilar: Exactly. So I, again, not knowing anything that was back in the day when audiobooks were done in studios.   Anne: Yes, yes.   Pilar: So the publishing companies had their own studios, and you know, the big guys on campus went and they recorded there.   Anne: Exactly, exactly. Now, were you doing, were you doing Spanish or were you doing both English and Spanish?   Pilar: I was doing both. Actually I started out doing English, doing these like really funny romance things. And then I went the other way with Spanish and started doing religious things because somebody asked me to do religious stuff, and this was, and so here's where networking comes in. You never know. You just never know who is going to be somebody who's a valued contact. That's why, and I'll, I'll tell this story really quickly, and so I don't lose my place about this.   When I was working as an extra on "One Life to Live," there was this guy, and I, and I may have mentioned it. And I remember him saying so clearly that he said, you have to be nice to everybody on set. You know, we were just all looking at him like with stars in our eyes because he was so good-looking, and he was just like, you know, he was a series regular. And he said, be nice to everybody. And I never forgot that. So when I went to Colombia, I was very aware that I needed to treat the producer and the director exactly the same as the coffee lady, because the coffee lady, the person who brought me coffee, and that was her only job, she was just as important --   Anne: Oh yeah.   Pilar: -- as the producer.   Anne: Absolutely.   Pilar: You know, it's a courtesy thing. It's a human interaction thing. And I've always been very, very aware of that. But that experience --   Anne: Yeah.   Pilar: -- that I had on the set from somebody who was, you know, making, you know, a good amount of money to talk to us who we were just like these little star struck extras was really important.   Anne: See, it's not just a life lesson, right, but a business lesson to be nice to everyone. It's like be nice to the person that picks up the phone. You may think you want to talk --   Pilar: Exactly.   Anne: -- to the boss, but in reality, it all starts with the person who answers the phone or gets you the coffee. You never know.   Pilar: You never know where that person's going to be. So --   Anne: Exactly.   Pilar: -- fast forward to when I would do voiceover dubbing at this one studio, one of the engineers was, he was just such a sweet guy, and we got along really well. And he was so pleasant and jovial. And, you know, whenever he would ask me to do another take, I always did. And you know, if I thought that I could do it better, he would let me do it. You know, if it was just like a little kind of an alteration in, in the way I inflected in my voice. And he said, hey, would you be interested in doing audio books in Spanish? And I was like, sure. And you know, afterwards we spoke, and I did quite a few for him. And, you know, he said, I don't ask everyone this because obviously people can, you know, he, he gets different responses.   Anne: Sure.   Pilar: And so that's why I, I want to emphasize the importance of being really pleasant and nice and courteous to everyone. 'Cause you just, you just never know. And I, I did like four books with him, and that was just something on the side that I did. And I wouldn't have done that otherwise, if I had been like, you know, a bitch on wheels going to the studio.   Anne: And you know what's so interesting though -- let me just try to relate this to today in an online community, when you're communicating with people online and especially in these groups where you think it might be a closed group where you're only talking to voice actors, be nice to everyone, because there are people sitting there watching you, and reading those comments, and making judgements about your comment, if it's not nice, or maybe it's not becoming of a professional. They're watching and you never know who might be looking or listening behind the scenes. So be nice to everyone. I think it's just a wonderful thing to live by. Right? Just be nice to everyone. Be nice.   Pilar: I totally agree with that, Anne, and, and I would go even further because I was listening to somebody about this. When you're on Zoom, you know, it doesn't cost anything to smile.   Anne: True, so true.   Pilar: It really doesn't.   Anne: Yeah.   Pilar: You can just, you can just be pleasant, and you can have a nice sort of energy to you. I mean, I know we're always in sweats, and it just it's become a way of life. And we're probably going to be doing this for a long time, but there's a certain energy you bring when you come into a Zoom meeting. You know, you can either slouch and you can just be like, uh, you know, and we've all heard them. Everybody on --   Anne: Yeah.   Pilar: -- listening to this podcast has heard people who are just like these Nagging Nellies I guess, or the complainers.   Anne: Debbie Downers,   Pilar: Debbie Downers. Debbie Downers. It's like, oh yeah, I'm I'm in voiceover, but I --   Anne: But I can't.   Pilar: -- but I don't have a demo yet. And I haven't --   Anne: I can't do this.   Pilar: -- gotten any work in six months. It's like really, really? Are you kidding? Then why are you even here?   Anne: Yeah.   Pilar: You know, it's like, hey, I want to learn. I don't know anything about, oh, I don't know. Let's say you're doing, um, let's say a demo. You want to learn how to do a demo --   Anne: Video games or something.   Pilar: No, I'm thinking of, you know, those slot machine things?   Anne: Oh, casinos.   Pilar: Casinos. They're, they're actually, now that's a new genre that I heard about.   Anne: Yeah, exactly.   Pilar: I was like, oh my gosh.   Anne: Casinos and gaming. Yes. That kind of gaming.   Pilar: Casinos and -- yeah.   Anne: Yup.   Pilar: So it's like, let's say you go in, and you don't know anything about it. Well, hey, you're here to learn. I'm here to learn about casino and gaming. Yay. This is something new. So it's like, I feel like you can always put your best foot forward because it doesn't cost you anything.   Anne: Yeah. You can always learn, and you can always learn.   Pilar: Yeah. Exactly. You can always learn. So --   Anne: You can always learn something.   Pilar: Yeah.   Anne: Even if you're like, oh, I don't know. Like I didn't like this class or -- that's the teacher in me that says, you know, if you're a good student, you can learn anywhere, anywhere.   Pilar: Yup.   Anne: There's always an opportunity to learn.   Pilar: I totally agree. So back to the guy. So I did these four books with him, and somewhere along the way -- so I, I didn't have an audiobook demo. I had a bunch of audio book samples 'cause that's what you do.   Anne: Yup.   Pilar: And the experience at Fafcon, which was just so enriching. And I met some amazing people that I'm still friends with today, I realized everybody was like, oh yeah, the demo this, the demo that. I was like, why in the world do you need a demo? And then after I'd gotten all this information, and then I went home ,and I looked at all, everybody's website that I had met. And I was like, oh, this is our industry's equivalent of a resume.   Anne: Yeah, absolutely.   Pilar: That's basically very simple and quick and dirty explanation. You have to have a demo. So anybody going online, anybody who's considering you -- I just did a session yesterday, and I had a certain kind of demo for this 'cause -- I can't talk about it because obviously it -- now every -- you sign NDAs, wherever you go.   Anne: Absolutely.   Pilar: Um, so I auditioned for this company, and then they said, oh yeah -- he said, so he started talking about the style that he wanted for what we were doing. And he said, yes. And I, from your audition, but especially from your demos.   Anne: That's excellent.   Pilar: I was like, oh, okay. This guy did his homework.   Anne: Yeah.   Pilar: This guy really looked at my stuff before choosing me, which means that's why my demos have to be in order.   Anne: Absolutely. I'm so glad you said that because there are some people who think that you cannot book off of your demo. And I, I am in disagreement with that because I do believe that people that are doing their homework that are out -- they're searching online. If your demos are sitting there on your website, people listen to them. And I get requests all the time, you know, hey, I love -- can you do the voice in that spot, on your demo, in this particular spot that you're referencing? So I will get people. I know they've listened to the demo and I've booked.   Pilar: In 2020, I booked a year long campaign. I basically paid my rent and then some.   Anne: From a demo.   Pilar: From a demo. I did not audition. I didn't audition for. And I was like, wait a minute. Don't you need? And they were like, no, no. The agent, 'cause I'm so -- I was such a newbie, he was like, no, no, you don't need to audition. I mean, he literally said that to me. No, you idiot. They're booking you off the demo. And, and actually yeah, through my agent, I book off my demo all the time. So it's, I get people will request it because they've listened to the demos. So --   Pilar: Right.   Anne: -- I mean, of course I audition too, like everybody else, but I do book a considerable amount off of my demos.   Pilar: In terms of specifically a bilingual demo, what I did, what I noticed, first I, and I did what everybody does. The, the very first demo I did, I basically just did my spots. That's what I did, you know? 'Cause I, I didn't know any better, so I, okay. I've got a bunch of spots and let me, you know, hook it all together. And I actually got somebody who did it for, you know --   Anne: So for your bilingual demo, right? You --   Pilar: No, for my first demo.   Anne: Okay. First demo, you strung together spots that you had created. Okay.   Pilar: Yeah, exactly, because, you know, that's what you do when you're starting out, and there's nothing wrong with that. But then when I went to Fafcon and I realized, oh, these people actually had this professionally done, you know, the skeptic in me said, oh, come on, really? Why in the world would you need that? And I realized, because that's how it happens in this particular business. It may not happen any in any other business, but I've seen the reason why I've booked work, and why I need that because that's the way, that's the way it is. I mean --   Anne: Well, I think it also shows -- of course, you can put together a demo of spots that you've done already and lots of people do that. But also I think it can show a range. Maybe you get booked for a lot of -- a particular style of spot or a particular read. And I think a demo can showcase a broader range of acting that you can do.   Pilar: Yes.   Anne: And that's where I think that it's really advantageous as well as hooking up with someone who is familiar with what's out there and what's -- a good producer or a demo producer that knows what trends are out there, what companies are looking for and can implement that on the demo as well.   Pilar: Exactly. You just hit the nail on the head. You need somebody, you need a director. That's what a demo producer is.   Anne: Yeah, yeah.   Pilar: They know better than you do. So, you know, it's like you go in stages. So at first I thought, oh, I'll do my own demo. And then I realized, no, I need somebody who can direct me because they're going to showcase my voice to the best --   Anne: Yes.   Pilar: -- of my ability rather than me trying to figure it out because --   Anne: You're too close to it.   Pilar: -- the dirty little secret is that we don't know how we sound --   Anne: That's right.   Pilar: -- really and truly.   Anne: We're very close.   Pilar: We need somebody else. We need somebody else to sit there and tell us, no, no, no, you want the cosmetic read. This is, you know, you want the automotive read. You want the, you know, the Olive Garden read; they're all different. So after that I was like, okay, I'm going to bite the bullet. And I actually did, I had, uh, I did a kind of a double thing because, um, Bob Bergen was teaching a weekend class, and this just kind of came about up in San Francisco. And I had already booked time with Chuck Duran to do my demos because I wanted to go there. This was obviously before, 'cause now you can do it. You don't even, you don't need to --   Anne: You can do it online.   Pilar: Yeah. You can do it totally online. But I was like, no, I want it -- and I wanted to go to LA because there was something about it --   Anne: Sure. Well, there's something about the experience of being in a studio too in LA recording a demo that all you have to do is perform. And this is a really wonderful experience.   Pilar: Totally.   Anne: Yeah.   Pilar: So the demo that we did -- so I asked Chuck, I said, you know, I'd really like to do two. I'd like to do one in Spanish and one in English, because I was told don't ever, ever mix them. That was the first thing I was told. So I was like, okay, I'm not going to mix them. So we did it in English and in Spanish. So he did the English copy, and he actually speaks some Spanish. And so then I translated some of them and then we came up with some other things. And so then I had two demos. It was great.   Anne: Two identical demos?   Pilar: No.   Anne: Okay.   Pilar: Not identical.   Anne: You had different spots in Spanish then?   Pilar: Yeah. Some overlapped, but some did not. And you know, he was very strategic about it. So that was, that was, that was fine. Then I realized that I wanted to have a bilingual demo. I was just stubborn. I was like, I want a bilingual demo.   Anne: So wait --   Pilar: This is what I want.   Anne: So what do you consider a bilingual demo? Do you mean one that is both English and Spanish --   Pilar: Yes.   Anne: -- in the same demo? Oh, okay.   Pilar: And --   Anne: All right. So you are a bilingual talent that has a separate English demo and a separate Spanish demo. Now a bilingual demo means you're going to have both English and Spanish.   Pilar: Yes.   Anne: Okay.   Pilar: And I have -- if you listen to my bilingual demo, there's a little bit of a, of a little bit of an accent because that's something else that I get all the time. I don't really have an accent in either language.   Anne: Speak English with a Spanish accent.   Pilar: Yes. All the time.   Anne: Okay.   Pilar: That's what I get all the time.   Anne: Okay.   Pilar: So then that became almost a third category, and I did that actually online.   Anne: So that's a separate demo or just a separate --   Pilar: That's a separate demo.   Anne: Okay.   Pilar: That's a separate demo.   Anne: All by itself, the English with the Spanish accent --   Pilar: All by itself. The bilingual, yep.   Anne: Okay, but let's --   Pilar: But not all of them.   Anne: Okay, but --   Pilar: They're not -- so there's English with a Spanish accent. There's English, normal English. And then there's Spanish. They're all mixed in, in that specific bilingual demo.   Anne: Okay.   Pilar: And so I was told by my -- and so then whatever the agent happened, and they said, no, no, no, we don't want that. We don't want that on. You know, we just want the English and the Spanish. We want it separated. But I tell you, I have booked from that bilingual demo.   Anne: Right, which is sitting on your website.   Pilar: So -- exactly. And so it's kind of like when you go in, when you walk into a store, not everybody's going to buy the same thing.   Anne: Right.   Pilar: But you want to have pants, and you want to have a dress --   Anne: Well, people consume --   Pilar: -- and you want to have a jumper.   Anne: Yes. People consume your audio differently --   Pilar: Yup.   Anne: -- right?   Pilar: Right.   Anne: Agents will consume or deliver your audio separately, right? Or people that go to an agent website may shop differently than people that get to your website, in which case I like to have everything available on your website because you never know who's shopping. It could be an owner of a small company --   Pilar: Exactly.   Anne: -- or it could be a casting director or an agent. And so they're very different buyers because casting agents and talented -- that's what they do for a living eight hours a day, all day long. The owner of the small pizza place, you know, down the road, he doesn't cast voices all day long. He just knows what he hears and he knows what he likes. And so he does a Google search, comes up with your website, right, is bilingual voice talent. Boom. Here's your demo that is sitting there that maybe your agents didn't want to present both ways. And he says, that's it. That's exactly what I need.   Pilar: And here's the funny part. And I can't 100% confirm, but I suspect that -- 'cause of course, you know, when I, when I signed, I gave them all the demos. I'm pretty sure that the demo that they heard that booked me that job in 2020 -- it was just like an ongoing thing -- they booked me on the strength of the bilingual demo, where they heard me speak in English and in Spanish at the same time and with an accent.   Anne: Yeah, yeah.   Pilar: So don't be afraid of the having the accent. So, you know, I run into people all the time. So they, they're Spanish speakers, and they speak with a little bit of an accent. And then there are English speakers who have a little bit of an accent in Spanish, but specifically to the Spanish speakers who speak English, don't be afraid to put different ranges --   Anne: Yeah, yeah.   Pilar: -- of your speaking in English, because like Sofía Vergara, she's Colombian. Very nice. She really puts it on thick in, in that, in the, in the whatever it was --   Anne: "Modern Family."   Pilar: "Modern Family." She doesn't speak like that all the time. If you listen to her, she puts it on thick in some movies and pulls back, 'cause she knows how to do that. You don't have to have a perfect accent in English or a perfect accent in Spanish either.   Anne: Well, you know what's so interesting, and I can see where your agent might say, no, we don't want it mixed. Right? We want one, that's English, one that's Spanish, because traditionally we've moved away from, if you remember in, in narration -- I'm going, I'll make the comparison with narration demos. It used to be a narration demos, you put every genre in there. You had like a documentary style. You had an e-learning, you had a corporate, you had, you know, all different styles of narration.   So it became all mixed up into one. And then we became very target specific. And so then it became, okay, you need a separate demo for an explainer, separate demo for corporate narration, separate demo for e-learning. But when you're talking bilingual, you have a client, a customer that may need multiple versions of Spanish speaking language. And so I think when you mix it together in English, English with a Spanish accent, Spanish, you're giving them all of the range that you have in that language.   Pilar: Exactly. I --   Anne: And that makes sense to me that that would work for you.   Pilar: Yeah. Yeah. And I've, I've had -- I've been in sessions where I speak English with no accent, and they want a run of the copy that way. Then they want a run of the copy with a little bit of an accent, and then they want to run of the copy with a lot of an accent. So I'm giving them three choices because --   Anne: Exactly.   Pilar: -- they don't know at the time how they're going to place it for those markets.   Anne: Right. And the markets may change. Right?   Pilar: Yeah.   Anne: The markets may --   Pilar: Exactly.   Anne: -- be more localized or, or regionalized, or I think it really just goes with the territory. Now, I guess my question is if they use it multiple times, are they paying you multiple?   Pilar: Yeah.   Anne: You know, that's what you want to make sure, which is why your agent helps.   Pilar: Yes.   Anne: And, and --   Pilar: That's where --   Anne: Yeah.   Pilar: -- that's where it gets tricky because I've really only been doing the bilingual work this way, to the extent that I've been doing it since I came out to Los Angeles.   Anne: Yeah, yeah.   Pilar: Usually it was that you either do the spot in English or you do the spot in Spanish, before I had an agent. You know like for example, on the pay-to-plays.   Anne: Yep.   Pilar: You don't really have, you don't get that oh, let's -- once in a very long while, but mostly it's like, okay, Spanish speaker, Latin American speaker or American speaker.   Anne: But if you think about it too, I would imagine the type of customer that would go through an agency or casting director to find a voice, they know the target market of who they're advertising to more so than, let's say, somebody on a pay-to-play. Right? They're just like, oh, I need Spanish. Maybe, that's just my guess, an educated guess because, and they come to the agent because they're much more target specific. It would seem to me that would make sense.   Pilar: I agree, because I think that a lot of the times the ad agency is looking for specific markets. So if it's Florida, it's going to be different from --   Anne: Exactly.   Pilar: -- Southern California.   Anne: Exactly. You're going to need a different Spanish that's in Florida than is in California, which makes a whole lot of sense to me. Wow.   Pilar: And it's different than Arizona too.   Anne: Yeah.   Pilar: So it's like, you're talking totally different markets.   Anne: This is so enlightening for me because what's cool is that I have questions for you because I have no real experience with how to market as a bilingual voice talent, because I'm not one. But yet you tell me your experiences, and it's, so it makes so much sense really for every one of us in the voiceover business, how we need to be very target specific. We need to be able to serve the -- our clients and our clients have many different needs, many different demographics, and the better that we can serve them and showcase, right, through our demos, through auditioning, how we can serve that community, then obviously the more chance we have to get the gig, and you know, that's what it's about.   Pilar: Yeah. And I, I just to, just to piggyback on that end, let's say you don't speak another language. Well, get your accents ready.   Anne: Yeah.   Pilar: Because a lot of the times I am called to do with a slight Southern accent or with a British accent. There are tons of things, whether it's the video game world or even commercial copy. So having an ear, developing that ear, looking at YouTube videos, there are tons of YouTube videos -- I think is important to listen for, let's say, a specific regionalism --   Anne: Right.   Pilar: -- because you never know what you're going to get in the voiceover. And I think one of the worst things to do is to get an audition and then be scrambling because --   Anne: Absolutely.   Pilar: -- you're like, oh my gosh, I don't know how to do this.   Anne: Right.   Pilar: Let me go look online. How am I going to do this? And then you're just, you're adding all that stuff. It's like --   Anne: Sure.   Pilar: -- why not take some time, take a look at it, listen to it, you know, practice, you know?   Anne: Well, and let me add the caveat here because of, you know, the climate past couple of years that if the casting specs request a native UK Londoner, then perhaps that's not necessarily something you audition for, if it's in the casting specs. But I think it's important that it starts there. Because again, we want, if people are looking for a native speaker or a native ethnicity, then I think that -- that we should respect those casting specs. And also that's a question, do we do a British accent these days? That's an interesting question. Are we taking away work if we do that, if we're not native? That is -- it's, it's a tough question that I think everybody is kind of wrapping their heads around, what is right in this industry these days?   Pilar: So I think that it is very important to distinguish and to be upfront about it because here's the thing. If you present, the person on the other end listening is going to know immediately if you are not a native speaker.   Anne: Yeah.   Pilar: So, I mean, that's just down the line. So I'm very, I'm very clear on the fact that I say anywhere, I, I, you know, on my resume, whatever, wherever I'm a native speaker in Spanish, I speak French fluently.   Anne: Yes.   Pilar: So if you drop me in the middle of Paris, I will not starve. I will be able to get myself anywhere. And I'm not --   Anne: I'm so glad you made that distinction. Yes.   Pilar: Yeah, I'm not a native speaker because native means I was born there or spent most of my life speaking French, and I haven't.   Anne: Right.   Pilar: So I can't, I can't say that with any kind of authority.   Anne: Right.   Pilar: Now in terms of accents, I have run across it. I, it's really more, I run across it much more with video games and especially animation --   Anne: Yes.   Pilar: -- where they're going to ask you --   Anne: Yup. They're going to ask you to have an accent.   Pilar: -- for a Russian accent. And that's really more of a character --   Anne: Yes.   Pilar: -- kind of a situation rather than this is a person of authority --   Anne: Sure, absolutely.   Pilar: -- where commercial copy comes in.   Anne: But again, that might be, and I'm just thinking, right, that could be come more of a discussion as we move on --   Pilar: Yes.   Anne: -- as well.   Pilar: Agreed. Yes.   Anne: So wonderful thoughts on that, and Pilar, of course, it's always a pleasure. I learn so much on every one of these episodes. Thank you so much.   Pilar: Well, you're my marketing guru, so there we go.   Anne: Well, hey BOSSes, I'm going to give a great, big shout-out to our sponsor, ipDTL. You too can connect like a BOSS and find out more at ipdtl.com. Have an amazing week, you guys, and we'll see you next week. Bye.   Pilar: Hasta la vista, baby.   >> Join us next week for another edition of VO BOSS with your host Anne Ganguzza. And take your business to the next level. Sign up for our mailing list at voboss.com and receive exclusive content, industry revolutionizing tips and strategies, and new ways to rock your business like a BOSS. Redistribution with permission. Coast to coast connectivity via ipDTL.

Hola mi gente, I hope you are doing well this week! Ugh it is such an honor to have my amazing amiga Ashley K Stoyanov here today! Ashley K. Stoyanov Ojeda is an author, business development coach and socialpreneur. Originally from Queens, NYC and born to a Mexican mom and French-American father, Ashley's career started in the music industry in 2012, working at major record labels, publishers, and venues. After relocating to Portland, OR post-college, she created her own network for local womxn songwriters, now a national organization that has been featured in The Recording Academy, called #WomxnCrush Music. Since the rapid growth of her organization, she has dedicated her career to creating opportunities and developing businesses and communities of underrepresented entrepreneurs through her coaching and consulting, and has become known as the Business Hada Madrina (Business Fairygodmother). Ashley joined The Mujerista team in 2020 to help create and grow The Mujerista Network, a digital network dedicated to empowering and celebrating the next generation of Latinas making an impact en la cultura. In Feb 2022, she'll be releasing her debut book through Mango Publishing called Jefa in Training. Ashley currently resides in Portland, Oregon. You can connect with her on Instagram at @ashleykstoyanovojeda and learn more about her on her website. IG: @cafecitoconestrellita --- Support this podcast: https://anchor.fm/estrella-serrato/support

Happy St Patrick's Day with our second St Paddy's Day musical celebration on the Irish & Celtic Music Podcast. One Street Over, The Carroll Sisters, John Doyle, Bonnie Rideout, The Irish Rovers, Seamus Kennedy, Eamonn Flynn, Cavort Celtic, Christine Collister & Kevin Burke, The Hoodie Crows, The Byrne Brothers, Brobdingnagian Bards, Screaming Orphans, Billy Treacy & the Scope, Highland Reign, The Selkie Girls, Hearthfire, The Kelly Girls I hope you enjoyed this week's show. If you Heard a song, tune or artist that you loved, I'd like you to share this episode and tag the artist on social either on your page or in a Celtic group you're a part of. Include the show time so they can quickly listen and enjoy. The Irish & Celtic Music Podcast is here to build our diverse Celtic community and help the incredible artists who so generously share their music with you. Musicians rely on your support so they can keep creating new music. If music in this show inspired you, you can buy their CDs, digital downloads, shirts, pins, and other merch. You can follow them on streaming and see their shows. More and more Celtic musicians are on Patreon, just like this podcast. And of course, I always appreciate it when you drop artists an email to let them know you heard them on the Irish and Celtic Music Podcast. How would you like Celtic music news in your inbox? The Irish & Celtic Music Magazine is a quick and easy way to plug yourself into more great Celtic culture. Subscribe and get 34 Celtic MP3s for Free. VOTE IN THE CELTIC TOP 20 FOR 2022 This is our way of finding the best songs and artists each year. You can vote for as many songs and tunes that inspire you in each episode. Your vote helps me create next year's Best Celtic music of 2022 episode.  Vote Now! THIS WEEK IN CELTIC MUSIC 0:08 - One Street Over "Killarney Boys" from Beyond the Gate 5:39 - WELCOME 8:10 - The Carroll Sisters "The Flight of Dawn" from Daybreak 12:15 - John Doyle "Sing Merrily to Me" from The Path of Stones 17:08 - Bonnie Rideout "The Reel O' Tulloch" from Scottish Inheritance 23:17 - The Irish Rovers "Against the Grain" from No End in Sight 26:54 - Seamus Kennedy "Bonny Kellswater" from Favorite Selections 30:55 - Eamonn Flynn "Baile Átha Cliath" from Anywhere But Home 35:43 - FEEDBACK 39:07 - Cavort Celtic "The Goat Set" from Kilted Cavort 45:47 - Christine Collister & Kevin Burke "The Two Trees" from I Am of Ireland / Yeats in Song 49:22 - The Hoodie Crows "The Venus of Killarney" from On the Wing 53:05 - The Byrne Brothers "Savage Cabbage  -  McKennas Jig, Ships are Sailing, Ormond Sound Reels" from Living the Dream 57:07 - Brobdingnagian Bards "Old Dun Cow" from Brobdingnagian Fairy Tales 1:01:03 - THANKS 1:03:40 - Screaming Orphans "John the Shepherd Set" from Sunshine and Moss 1:08:02 - Billy Treacy & the Scope "The Sally Gardens" from Life 1:11:33 - Highland Reign "Isle of Skye" from Bring Forrit the Tartan 1:15:52 - The Selkie Girls "Star of the County Down" from Running With the Morrigan 1:19:05 - Hearthfire "The Lost Irish Fest" from After the Fall 1:22:19 - CLOSING 1:24:34 - The Kelly Girls "May You Always" from May You Always 1:28:03 - CREDITS The Irish & Celtic Music Podcast was edited by Mitchell Petersen with Graphics by Miranda Nelson Designs. The show was produced by Marc Gunn, The Celtfather. Subscribe through your favorite podcatcher or on our website where you can become a Patron of the Podcast for as little as $1 per episode. Promote Celtic culture through music at http://celticmusicpodcast.com/. WELCOME TO CELTIC MUSIC * Helping you celebrate Celtic culture through music. I am Marc Gunn. I'm a musician and podcaster. I share my love of Irish and Celtic music from around the globe with you. I want to introduce you to some amazing Celtic bands and musicians. The artists in this show need your support which you can do by buying their music or telling a friend about the band you found. You can find a link to all of the artists, along with show times and chapters for each song when you visit our website at celticmusicpodcast.com. You can also support this podcast on Patreon. EATING HUMBLE PIE FOR ST PATRICK'S DAY First let me start with an apology. Last episode, I shared a pet peeve. I said Facebook was my least favorite place to get comments. That's true. But according to my website, I was wrong. There was some old info that said EXACTLY that. Ugh. I screwed up. IF YOU WANT TO ENJOY SOME HUMBLE PIE WITH ME… I have two St Patrick's Day celebrations happening in the Atlanta area this weekend. On Saturday, March 14, I'm at Ironshield Brewing in Lawrenceville, GA. On Sunday, March 15, I'm at Three Taverns Brewery in Decatur, GA. You can come eat some humble pie with me… or at least toast a pint of beer with me. I'd love to meet you. DO YOU NEED A GUEST ON YOUR PODCAST? I'd love to share my love of Celtic culture through music with your podcast. Or we can talk about science fiction, fantasy, podcasting, or even cats. I'd love to chat with you. If you know a podcaster who might be interested, drop me a line. ST PATRICK'S DAY ON PUB SONGS & STORIES The next Pub Songs & Stories podcast is a packed extra long episode for St Patrick's Day. Jon Pilatzke shares some stories about the late Paddy Maloney of The Chieftains. The Muckers wrote a song on a Flogging Molly cruise. Guilty pleasures come in many shapes. What's mine? I'll give you a hint. It comes in plaid. Subscribe to Pub Songs & Stories. VOTE IN THE CELTIC TOP 20 FOR 2022 This is our way of finding the best songs and artists each year. You can vote for as many songs and tunes that inspire you in each episode. Your vote helps me create next year's Best Celtic music of 2022 episode.  Vote Now! WHAT'S NEW IN IRISH & CELTIC MUSIC: BEST OF 2022 Two weeks after the episode is launched, I compile the latest Celtic Top 20 votes to update a playlist on Spotify and Amazon Music. These are the results of your voting. You can help these artists out by following the playlists and adding tracks you love to your playlists. The newest band added to the playlist: Marc Gunn, Old Blind Dogs, Kathy Barwick, Marys Lane, The Carroll Sisters, The Rogues Listen on Spotify and Amazon Music. BUY SELCOUTH BY MARC GUNN My latest CD features Sci F'Irish music. That means it is original songs fusing pop culture themes with Irish drinking songs. There are some traditional music on the album. But mostly, it features songwriting by Marc Gunn with guests including: Screeched Inn, The Muckers, Jamie Haeuser, Sam Gillogly, Nathan Deese, and Mikey Mason. Selcouth means, “when everything is strange and different, yet you find it marvelous anyway.” The album is not completely Celtic and it's not just science fiction and fantasy. It's a fusion of the two. It's heartfelt and a lot of fun. It's now on sale in my Bandcamp store. Check out Selcouth now. THANK YOU PATRONS OF THE PODCAST! Because of Your kind and generous support, this show comes out at least four times a month. Your generosity funds the creation, promotion and production of the show. It allows us to attract new listeners and to help our community grow. As a patron, you hear episodes before regular listeners. You can pledge a dollar or more per episode and cap how much you want to spend each month over on Patreon. You can also get music - only episodes and free MP3s when you become a Song Henger. A super special thanks to our Celtic Legends: Dan mcDade, Carol Baril, Miranda Nelson, Nancie Barnett, Kevin Long, Lynda MacNeil, Annie Lorkowski, Travis Senzaki, Shawn Cali You can become a generous Patron of the Podcast on Patreon at SongHenge.com. TRAVEL WITH CELTIC INVASION VACATIONS Every year, I take a small group of Celtic music fans on the relaxing adventure of a lifetime. We don't see everything. Instead, we stay in one area. We get to know the region through its culture, history, and legends. You can join us with an auditory and visual adventure through podcasts and videos. Learn more about the invasion at http://celticinvasion.com/ #celticmusic #irishmusic #celticmusicpodcast I WANT YOUR FEEDBACK What are you doing today while listening to the podcast? You can send a written comment along with a picture of what you're doing while listening. Email your feedback to celticpodcast@gmail.com Hanbo WANG emailed: "Hi Marc, I'm Hanbo, a new listener of the podcasts from Beijing, China.  I am a fan of Celtic culture in general. Language, folklore, jewellery, movies  -  -  a list without ending! Your podcast channel just popped up when I typed 'Celtic' to find anything I might be interested in on GooglePodcasts. I am so happy to discover this channel which brings so many serendipities! I was reading books about Celtic myths while listening to the podcasts. The modern Irish music and the traditional stories  -  -  what a combination! Thank you so much for presenting the brilliant channel!" David Gowrylu emailed: "Hi Marc,  I'm an avid listener of your Irish/Celtic music podcast as Celtic has always been a go - to for me in my lifetime. I was actually in a band, many moons ago, that put out a demo cd, and I think it might actually be something that would fit your podcast.  Let me know how I can send the files to you and you can enjoy them and feel free to put them on the podcast. Always looking for ways to make people smile and this band did just that.  Slainte"

Click HERE to Get on the Waitlist for 5X Your Farm Sales This week a farmer asked for coaching because she has writer's block and often feels stuck when she sits down to write. Yet she knows her farm's success depends on her being able to write emails to sell, descriptions on her website that will sell, social media posts that will sell. And yet when she feels blocked and uninspired, the result is sales are slow and difficult because of this writer's block which is not allowing her to write. Ugh! It's a self-fulfilling prophecy. Her writer's block assures no sales emails will go out, or if they do, they were exhausting to write and ineffective. Today's podcast episode will walk you through how to overcome writer's block and general lack of inspiration or enthusiasm around marketing. In episode 107 you'll learn: The sneaky way you keep yourself stuck and blocked Why you don't feel inspired when you sit down to write How to create the feeling of inspiration when you need it You might think, oh I just need some writing prompts or a template. THEN I'll be able to get over writer's block. I have so many writing prompts in my marketing program. I even have lessons on copywriting. But this is why coaching is crucial - you can't do the thing you KNOW you have to do if you're creating a feeling of stuck for yourself. You won't be able to take action when you're stuck. You've got to solve for that first. Instead, I teach you the skill of being able to write on demand - which is learning to create inspiration or focus, whatever emotion you need, when you need it. Listen to Episode 107 now and learn how to overcome writer's block. Charlotte

So, you've decided to lose weight and work towards your dream body but there's someone in your life who won't just keep their thoughts to themselves – UGH! It can be so difficult working on yourself when you have friends, family or even colleagues who want to have their say, so in this episode I'm here to remind you that it's nobody's business except your own! Today's episode features some important advice on how to confront these negative voices within yourself (and others) and how to unapologetically be yourself because girlfriend... weight loss has to be for YOU! If you're ready to shake off the bad vibes and achieve the body of your DREAMS then check out thesororitynutritionist.com/membership now!

Are you physically and emotionally burned out? You are spent by all you have to do in a 12-hour day; can't wait to get to the weekend? By Tuesday, are you wishing it was FRIDAY? Ugh.   Well, Joe Sanok has thought of the remedy for it all! "Think about it. We keep inventing things to save us time, yet in most cases, we're just cramming more' time savers' into 24 hours, instead of freeing up more time for personal discovery and life balance."   This is where Joe comes in-   Joe Sanok is the author of "Thursday is the New Friday: How to work fewer hours, make more money, and spend time doing what you want." It examines how the four-day workweek boosts creativity and productivity.   Joe is featured on Forbes, GOOD Magazine, and The Smart Passive Income Podcast. He hosts the popular The Practice of the Practice Podcast, which is recognized as one of the Top 50 Podcasts worldwide, with over 100,000 downloads each month. Bestselling authors, experts, scholars, and business leaders and innovators are featured and interviewed in the 550 plus podcasts he has done over the last six years.   We talk about taking control of your schedule, workload, and overall mental health to create the opportunity to do what you WANT and NEED. I loved this conversation and can't wait for you to hear it! Thank you, Joe, for sharing YOUR time and incredible energy with my listeners.     Joe Sanok helps private practitioners to find innovative ways to start, grow, and scale a private practice. For resources, go to: http://www.practiceofthepractice.com/resources  Grab a copy of Thursday is the New Friday here.   Connect with Joe at: Website(s): www.joesanok.com www.practiceofthepractice.com LinkedIn IG: @practiceofthepractice Twitter: @OfThePractice   Listen to his podcast: https://thursdayisthenewfriday.libsyn.com/     Get my FREE NON-negotiables collab with my sponsor SOBERLINK by clicking HERE!    Here's the link to my Online Dating Course: DOING DATING RIGHT!      Join the Facebook Group and leave a question for a future episode: https://www.facebook.com/groups/doingdivorcerightpodcast     Where to find me: Website: https://jenniferhurvitz.com/ Facebook: https://www.facebook.com/jenniferhurvitzbiz/ Instagram: https://www.instagram.com/doingrelationshipsright/ Youtube: CLICK HERE ♥️ TikTok: CLICK HERE! Pinterest: click here!     You can connect with my editor, Next Level Podcast Solutions, at https://nextleveluniverse.com/     Get a copy of Jen's book, "Woulda, Coulda, Shoulda: A Divorce Coach's Guide to Staying Married" here.   Show notes: [4:25] Thursday is the New Friday [9:33] Why we overvalue work and undervalue fun [14:12] What is the flow state? [15:49] Check out this excellent parenting tool: Soberlink (https://www.soberlink.com/partners/drr) [17:22] The importance of setting firm micro-boundaries [25:01] Saying no to one thing means saying yes to other things [27:54] Where to find Joe [28:42] Joe's big tidbit of wisdom [30:43] Outro

It's 3 am and you just woke up covered in sweat. Ugh! The worst! If this rarely happens, you probably need better temperature regulation in your bedroom. But if it happens often, we're sorry to tell you that your hormones might be out of whack. And no air conditioning will fix that. Whether it is too little estrogen, too much cortisol, not enough estrogen, etc. It will make a big impact on how you feel on a regular basis. So let's talk about some signs you might be experiencing when your body is trying to tell you that your hormones are all func'ed up sis. Can't get enough FUNC YOU UP!? Follow @michellemiller_msacn, @do.nutrition, and @physiologicnyc for more functional nutrition and health. In the meantime, leave us a review on iTunes, follow us on Spotify and share! FUNC YOU UP! is a Physio Logic wellness podcast covering the best in wellness, nutrition, and functional medicine in twenty minutes or less with hosts Michelle Miller, Functional Nutritionist, and Functional Medicine Registered Dietitians, Diana Orchant and Kendra Bova. https://physiologicnyc.com/func-you-up-podcast #IntegrativeNutrition #FunctionalMedicine #Hormones

The Daily Mojo is 2 hours of news, commentary, comedy, and auditory deliciousness.UFC Bryce Mitchell summed up succinctly how we think many Americans feel about the events in Ukraine. Listen and see if you agree. Gas prices continue to rise - it's Putin's fault. Is the "vaccine" really a "vaccine"? Leaders at Bayer may not think so. Oh, and worms in test vials - UGH. Could they be in you? We also talk with Michael Letts - Co-Chairman of the Freedom Convoy/Trucker Convoy in DC. We get the latest on what's REALLY HAPPENING!Peter Serefine's Liberty Minute & Aaron Barker's Breakdown are part of the show, as well. Plus it's day 722 of 15 days to flatten the curve.All things in one place: https://linktr.ee/realbradstaggs You can watch us live 7-9a CT:Rumble: https://rumble.com/c/StewPetersFacebook: https://www.facebook.com/MoJo50Radio Mojo 5-0 TV: https://www.mojo50.com/mojo50tv Or simply listen:https://www.mojo50.com/

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Welcome welcome, Friends, to The Bargain Den! This week, we watched Before Sunrise! And guys… THE CHEMISTRY. UGH! Letterboxd ...You can contact us at: TheBargainDenCast@gmail.com ...You can find The Lounge Kittens' rad music at: www.theloungekittens.com/ ...Become a supporter of this podcast: anchor.fm/the-bargain-den/support …You can find Sara Anastasia's work here: https://saraxstasia.bigcartel.com/ ...And if you want to start your own podcast, visit anchor.fm/start today! --- Send in a voice message: https://anchor.fm/the-bargain-den/message Support this podcast: https://anchor.fm/the-bargain-den/support

In tonight's episode, we are going to revisit chapter 7 in my book, THE CALCINATION OF A VOLATILE LIFE. It talks about how we are brainwashed into thinking there is someone out there that is just for us. The perfect person that will complement our life and make us feel whole again. UGH! Why can't you be whole while single? Why is it so important for us to spend our lives searching for "the one"? We are in such a rush to find someone, that we overlook the red flags that are thrown all over the playing field, and end up regretting our decision later. We seem to go about our search all wrong. We are looking for Mr. tall, dark, and handsome, who has to be a dynamo in the sack. Good Luck! Let's dig deeper into what we think a soulmate is, and why we seem to think we need one. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/paula-julson/support

Welcome to the Squared Circle Podcast! I am your host Marie Shadows! I talked about the New Japan Cup at length and explained why I chose my picks. In the final it should be Tama Tonga vs Okada. This wouldn't be Tama chasing in on his victory from the G1 that I would think would grant him a shot at the IWGP World Heavyweight Championship. This is Tama putting the world on fire after Jay White betrayed him with a Blade Runner reminding everyone why he's Switchblade. Ugh. It still hurts. Tama needs this win from the New Japan Cup of 2022. He gains everything from it. It's been brought to my attention that it's true about Tama and Loa being kicked out of Bullet Club. Was New Japan in on it? Was Gedo in on it? There's still too many questions and not enough answers. We could also see Tama Tonga vs Bad Luck Fale. Fale is an OG of Bullet Club and for story wise, I would think Fale would need to test Tama again. Tama had his guard down when Jay White decided to attack - Jay is great at that. Either way, I went through the New Japan Cup. I hope you guys enjoy! Tama Tonga vs Okada OR Tama Tonga vs Fale --- Send in a voice message: https://anchor.fm/squaredcirclepodcast/message Support this podcast: https://anchor.fm/squaredcirclepodcast/support

Welcome to the Squared Circle Podcast! I am your host Marie Shadows! I talked about the New Japan Cup at length and explained why I chose my picks. In the final it should be Tama Tonga vs Okada. This wouldn't be Tama chasing in on his victory from the G1 that I would think would grant him a shot at the IWGP World Heavyweight Championship. This is Tama putting the world on fire after Jay White betrayed him with a Blade Runner reminding everyone why he's Switchblade. Ugh. It still hurts. Tama needs this win from the New Japan Cup of 2022. He gains everything from it. It's been brought to my attention that it's true about Tama and Loa being kicked out of Bullet Club. Was New Japan in on it? Was Gedo in on it? There's still too many questions and not enough answers. We could also see Tama Tonga vs Bad Luck Fale. Fale is an OG of Bullet Club and for story wise, I would think Fale would need to test Tama again. Tama had his guard down when Jay White decided to attack - Jay is great at that. Either way, I went through the New Japan Cup. I hope you guys enjoy! Tama Tonga vs Okada OR Tama Tonga vs Fale --- Send in a voice message: https://anchor.fm/squaredcirclepodcast/message Support this podcast: https://anchor.fm/squaredcirclepodcast/support

Childhood trauma comes in a variety of different forms – no two trauma survivors have identical histories. What we do have in common, however, are experiences with the five core wounds that have led to depression, anxiety, PTSD, and other mental health disorders. In this episode Alyssa talks about the first three (3) core wounds and how they manifest in adulthood.     Check out the Light After Trauma website for transcripts, other episodes, Alyssa's guest appearances, and more at: www.lightaftertrauma.com Want to get more great content and interact with the show? Check us out on Instagram: @lightaftertrauma We need your help! We want to continue to make great content that can help countless trauma warriors on their journey to recovery. So, please help us in supporting the podcast by becoming a recurring patron of the show via Patreon: https://www.patreon.com/lightaftertrauma   Transcript   Alyssa Scolari [00:23]: Hi, beautiful people, welcome back to another episode of the Light After Trauma Podcast. As you know, I'm your host, Alyssa Scolari and we are talking about the five core wounds today. Now, before we dive in, I just want to take a minute to thank everybody for all of the feedback from my last episode, where I talked about how I've been healing post operation from my endometriosis surgery, and what that has brought up for me trauma wise, thank you for all of the love and the support, I really appreciate it. I continue to feel better every day. This week has been a little bit of a rough one. My husband's step grandmother passed away and it's just been really, really sad. And his grandfather who we love dearly has been really devastated. So they live about like three hours away from us. So we really just dropped everything and went up there when we found out that she was getting ready to pass and the services happened and the funeral services, and it's been a lot. Alyssa Scolari [01:39]: His wife was, she was sick and we kind of were expecting this, but it really just doesn't make it easier. Death is just so, so hard. So there's been just a lot of grief and a lot of heavy feelings, but hey, overall, honestly, I cannot complain in terms of my recovery. I am just doing my best and I really just wanted to say thank you so much for all of the support. Alyssa Scolari [02:10]: So today I thought that I would talk about something that I find really fascinating, which is this idea of the five core wounds. And what does that mean? So I'm not sure if you've heard of it or not. Truthfully, I was aware of all these wounds, but I've never really had them like packaged together as like the five core wounds until very recently in the research that I was doing. And I was like, oh man, I really need to talk about this on the podcast. So this is going to be a two part episode because while it's just five wounds, there's kind of a lot to them. And I feel like it's really heavy and I, of course, want everybody to learn, but it's just a lot of information to take in. So I'm going to be splitting it up. I'm going to do the first three today and then next week I will do the last two and then we'll talk about ways to heal from those core wounds. Alyssa Scolari [03:18]: So I guess the first question is what is a core wound? And that is basically a, it's damage that's been done, right? Mental health damage, so to speak, reparable damage, of course, but damage, nonetheless, that has been done in childhood. These are things that happen in childhood that ultimately can lead to a diagnosis or the development of complex PTSD. And we've talked about CPTSD a lot, and how it is really stems from things that have happened in childhood. And those things happen to be the five core wounds, right? Alyssa Scolari [04:09]: So things can happen, all different types of events, right? Maybe you experience a wound from sexual abuse while somebody else experiences a wound from a traumatic death in the family, right? So we can experience these wounds in all different ways, but at the end of the day, it is these basic five wounds that can contribute to depression, anxiety, PTSD, and things like that that can harm your relationships with yourself and others and just get in the way of you living your best life. Alyssa Scolari [04:46]: So really what I see talked about the most is abandonment. Abandonment is number one. And I'm sure at this point, you hear that and you're probably like, "Ugh, I'm so over the word abandonment, it's like been there, done that, heard about it." And I get that. I think that abandonment is just really, I wouldn't say overused, I would say misused, because I think that a lot of people label things as abandonment when it might not be abandonment, it might be one of the other core wounds. But abandonment is the one that everybody knows the most. Alyssa Scolari [05:27]: Now with that being said, if abandonment is what feels true to you personally, then of course, that's your truth and who am I to say otherwise? But I just think in general, I've definitely seen it get misused. Like there's another kind of wound that fits better. And I just think abandonment is what we default to. So I also should point out that these core wounds, we can experience all of them. To be perfectly honest, I was going through this list and I've been doing a lot of research on these core wounds to prepare for this episode. And I was like, oh crap, I am pretty sure I've experienced all of these. Alyssa Scolari [06:18]: And this episode again, I really want to point out, isn't a place to blame on anybody in my life. I never... Listen, there are some people in my life who I absolutely will put blame on. Absolutely. I have certain people who I will not speak to anymore and that is my boundary and I hold them accountable for the things that they do. But I know that I share a lot of myself on here and sometimes I worry that I come across as like maybe blaming other people. I don't know. I have really been thinking about this a lot lately. And so I know in my last couple episodes, I've really been intentional about saying that this isn't a blame game, right. Because I know not just myself, I have family members out there that have been good to me and have really done right by me and if we haven't always met eye to eye in the past or seen eye to eye in the past, we've come a long way and we're good now. Alyssa Scolari [07:22]: So I never want to seem like I'm slandering anybody, but I also never wanted to seem like I'm faulting you as the listeners, because I know that you are parents, you are trauma survivors, you are caretaker. So I never wanted to see him like I'm blaming, right? This is educational. And I just wanted to put that out there. Alyssa Scolari [07:48]: So abandonment is exactly as it seems, right. It is the fear that people are going to leave. Well, it's not so much the fear that people are going to leave, it is the act of people leaving you. Now, this is a little bit more complex than it seems, right? Because it's not just, oh, my mom and dad got into the car one day and left and I was upset. They abandoned me and now I have this core wound. I wish it was as simple as that, but it is not. Alyssa Scolari [08:21]: Abandonment comes in many forms. It can look like a parent and keep in mind, I'm saying parent right now, but I also mean like primary caretakers as well. So it could be that a parent or a caretaker wasn't there time after time to help you when you needed emotional help. It could be that nobody was there to teach you how to do certain things, meet certain milestones in your life, right? Ride your bike, learn how to use a knife a fork, and a spoon when you're eating at the table. Helping you potty train. Alyssa Scolari [09:02]: Abandonment is about people showing up for you to help you get your needs met in terms of like the milestones, right? When we look at developmental psychology, kids have milestones that they meet. They are potty trained and they learn how to use utensils and they learn how to talk. And then they learn how to communicate. And then they learn how to pick up on body language. It's like kids meet these milestones but what helps kids to meet these milestones is the adults in their lives who are helping them, who are pointing them in that direction. And it is really harmful when we as kids are having to do it alone and figure these things out for ourselves, when we look at adoption trauma. Alyssa Scolari [09:57]: And this is not something I've touched on, but I do work with many kids and adults who are adopted. And if we're talking about adoption trauma, a lot of times kids will come from orphanages, where in the first year or two of their lives, they weren't held, they weren't coddled, they weren't nurtured. And then they grow up with this chronic and constant fear that nobody in their lives is ever going to stay. That nobody's ever going to love them enough to stay and not leave. Alyssa Scolari [10:36]: So it's not necessarily like a one off incident, right? Like I mentioned the whole bike riding thing. If your mom or dad or caretaker aren't around to help you learn how to ride your bike and you had to teach yourself, that necessarily isn't going to trigger a core wound, right? That's not really going to create the wound. What kind of creates this wound of abandonment is when it becomes a pattern, when it becomes habitual, right? That it's like, I was never held when I was little. Alyssa Scolari [11:12]: And we know that babies will die at times when they are not given the nurturing that they need. We know how important that is, but it's a pattern of behavior, right? I wasn't held when I was little, I wasn't nurtured. And then it took me... Nobody ever helped potty train me and nobody ever helped teach me how to feed myself, how to use kitchen utensils. Nobody ever helped teach me how to do homework. I never learned how to clean. I had to figure all these things out for myself. That can be where the abandonment comes up sometimes because there are other examples of abandonment too. Alyssa Scolari [11:55]: For example, abandonment can also look like a parent just walking out of your life. There are so many people out there who had a parent who just up and left or a parent who was never involved. That is abandonment because you know what, if you're a parent and you get up and you walk away and you walk out of your kid's life, well guess what? You're not going to be there to help them through any of those milestones that they needed you for. So that is abandonment in itself. Alyssa Scolari [12:28]: Abandonment also can look like somebody passing away and it can get a little more complex there because I think that a lot of people think like, but it's not abandonment, that person died. And a lot of people actually have a lot of guilt and shame about feeling abandoned when a loved one passes away. So it's not talked about as much, but honestly, underneath those surfaces, part of grief is also like working through those feelings of abandonment. If a parent has died, doesn't matter if they were there to teach you all through many of your milestones, but if you're a child and a parent dies, you could absolutely be wounded in an abandonment sense. There are other examples of abandonment. Of course, I could go on all day, but I think you get the general idea. Alyssa Scolari [13:29]: Now, people who have been abandoned in some way, shape or form, really develop this intense fear of loneliness. They hate being alone. But the kicker is loneliness is something that they're used to. That's what they're familiar with. So they are terrified of being left, but in the same sense, they also can push people away and can take action subconsciously to cause somebody to end up leaving, which then makes them feel abandoned again, thus reliving the cycle, repeating the cycle and reliving the abandonment in childhood. So it's very, very difficult but the core fear here is loneliness. And that fear has developed because as a child, you were used to doing everything by yourself anyway, you had to figure it out alone anyway. Alyssa Scolari [14:32]: So as an adult, when people come into your life, you are terrified that they are going to leave, or sometimes, you might want them to leave so that you don't have to even deal with the fear, right? What does this look like in adulthood? So this can look like the person who's been fiercely independent, who never dates, never gets into relationships. And it's just like, I don't need anybody. I don't want anybody, not always, some people are very happy on their own and that's completely fine. But sometimes that can look like a person who has a chronic fear of abandonment. Alyssa Scolari [15:11]: In adulthood, abandonment can also look like somebody who has a really insecure attachment. So maybe they get into a relationship or they develop a friendship, but they're always like, "Are you going to leave me? Are you going to leave me?" Or they're always like very, very anxious, right? Like, "What are you thinking? Are you mad at me? Are you going to do something? Are we breaking up? Do you still want to be my friend? Do you think I'm a good person?" They are seeking constant validation and reassurance. And even if you, as the partner on the other end, give them that validation and reassurance, it still likely isn't going to be enough. Alyssa Scolari [15:51]: So abandonment really affects relationships with other people. Most often romantic relationships, but also friendships too. Abandonment is a huge core wound. And I absolutely feel this one. It's funny because I actually, I am really, I've been debating whether or not I want to share the ways in which my core wound of abandonment has shown up. And I don't really think I feel quite ready to do that right now, but suffice it to say that I definitely feel this. And it has shown up in my adulthood pretty much exactly the way that I just described. I struggled so much and still do with an insecure attachment. I'm so much better now because I've had so much therapy and I've worked on it so much, but I just had this fear of people leaving me. Alyssa Scolari [17:05]: I mean, to the point where like, even in high school, when I would get close with teachers, I would be really sad. In high school, I had teachers who were cool, I would hang out with, like I would hang out after school. I was involved in lots of different things at school. So I just developed relationships with my teachers, appropriate professional relationships, right. Not professional, but appropriate student teacher relationships. And we'd hang out and we'd chit chat and I'd talk about my life. Alyssa Scolari [17:33]: And even at the end of the school year, I was sad because I felt like these teachers were leaving me. Now, of course, they weren't and that was just part of life. But it was a result of my core wound. And then, of course, even today I still struggle. I still struggle with feeling like, if my husband and I get into an argument, or we're not seeing eye to eye on things, I'm sort of like, oh my gosh, this is the end of our marriage. It's over. He's going to leave me. He's not going to want me. I really do struggle with all of those thoughts coming back to the surface despite the fact that it's very normal to argue and we get through all of our arguments and we're fine. Alyssa Scolari [18:22]: My brain loves to tell me otherwise, my brain loves to be like, huh, he looked at you kind of weird today. He's probably thinking about how he's going to abandon us tonight. Really that's literally what my brain does. And we laugh about it when it comes up for me, I'll say it to my husband and then we kind of like call it what it is. And we make a joke about it and we laugh about it. But the truth of the matter is that that abandonment doesn't have as much of a hold on my life anymore because I've worked through it. But honestly, when you're in it, it is the worst feeling in the world. And I know so many of you can relate. Alyssa Scolari [19:05]: Now, the next one is fear of rejection. And this one is also a really hard one for me. Now, fear of rejection, it's pretty self explanatory. That's exactly what it sounds like. It's the fear of being rejected. And this can happen really from the moment of conception and being born. This can manifest if, as a mom, if you are struggling really bad with postpartum depression or you're really, really sick after giving birth and you can't hold your baby, rejection can manifest in that way. Alyssa Scolari [19:43]: Again, babies need a lot of nurturing. And if their moms are there, it's a little bit different than abandonment, because it's like, I haven't been left, I see my parents are here, but I'm not getting what I need, right. That's how it kind of looks like early on, early infancy type. But then as you get older, right, rejection can also look like parents who are not accepting of who you are. We see this so much in children who show early signs of, I don't even want to say signs, I guess I should say children who try to play with toys or try to do things that don't fit within their gender norm. So if a child is born and that their sex is male and they're four, five, six years old, and they're playing Barbie dolls. Barbie dolls is a traditionally feminine, again, screw gender norms, because I don't believe in any of that, but it's a traditionally feminine toy. Barbie dolls are. Alyssa Scolari [20:57]: So it can look like the parents that are like, "Get rid of those Barbie dolls. You're like a little sissy. You're going to look like a girl or boys who want to wear dresses." Or, girls who want to play with trucks, right? All these things are traditionally feminine, masculine, and God forbid, kids cross over. And girls like trucks and boys like dresses, heaven forbid. Again, I don't agree with this, but when parents are not accepting, that manifests rejection and rejection can look in adulthood, it can look like the person who suppresses so much of who they are. Alyssa Scolari [21:41]: Sometimes it can be somebody who suppresses themselves, but still hangs out with people and is very social, right? So this person, the person in your life who you see and you talk to, but you feel like you can never quite really get to know because they keep so much of who they really are hidden from the world, right. Or it can look like that person who never socializes, who really has withdrawn and has isolated themselves because they are so fearful of being rejected again. It also can look like somebody who has a really difficult time taking feedback and Lord, oh Lord, I am absolutely that person. Or should I say I was that person because I'm actually really good at taking feedback now. But I had a really hard time. Alyssa Scolari [22:40]: If you work in a company and you have like your performance evaluation, right? Some people have like performance evaluation and then get nervous. Of course, that's very natural. But the people who have core wounds of rejection will be absolutely beside themselves over something like a performance evaluation. And some of them will avoid it altogether and never go and never show up and then take whatever punishment they get from work because the punishment that they will get from not showing up is easier than the feelings that they would have if they were to attend that performance evaluation and get rejected in some way, shape or form. Alyssa Scolari [23:26]: And if you have a performance evaluation and it's out of five stars, you get four stars. And you have one, one mild to moderate area for improvement. So people who don't have this core wound, they look at that and they go, "Okay, I did really, really great. I did great. And I'm going to con continue to work on this one thing. And that's awesome." But the people who have this core wound of rejection, it is the end of the world. And I mean that very literally. If whenever I got rejected or perceived rejection, because the truth of the matter is I wasn't rejected. When I first started out as a therapist, I would have supervision. And I would be told the ways in which I could improve. Now that is not rejection, but I absolutely perceived it as rejection, absolutely. And I would become so flooded with shame and it would ruin my day and I would cry and I would be so embarrassed. And I wouldn't want to look at my boss. Alyssa Scolari [24:38]: Now, a little caveat here, right. My boss at the time really didn't have the best way of saying things. So she was very blunt with me, which I don't think helped. But honestly, even if she had sugar coated everything that she said to me, I still would've been a disaster, right. Some people sugarcoat things, some people don't. I don't really sugarcoat things, but I do try to say them in a way that I know is not going to be so super hurtful. My boss really didn't care enough to do that at the time. So I just felt horrible afterwards. And like I said, even if she did care enough to speak to me in a much more respectful manner, it still probably wouldn't have mattered because of my core wound of rejection. People who have a core wound of rejection can also look like perfectionist, right. Which is me to a T. I was a perfectionist my whole life. I don't really think I am as much anymore, but it is really because I so deeply feared rejection because it is one of my core wounds. Alyssa Scolari [25:49]: So next, we have the fear of betrayal. This is a really tough one. I mean, they're all really tough, but the core wound is the betrayal here. And this can start anywhere from between like two to four years of age. Whereas abandonment and rejection can start much earlier. Betrayal can start a little bit later, like between two to four years and up. And really what this is in its purest form is a lack of trust in your caregiver or parent. And this can happen in a number of ways. This can look like finding out that a parent has been lying, right? Kids snoop, kids are sneaky. I cannot tell you the number of children I have worked with that have walked into my office and been like, "So I found out last night that my dad has been cheating on my mom or that my mom has been cheating on my dad and blah, blah, blah, blah, blah." Alyssa Scolari [27:00]: Like that can manifest as a core wound of betrayal because that child is seeing that, seeing that adult or caregiver or parent behave in dishonest ways and that child can no longer trust the parent. This happens so much with abuse, so much with abuse. Parents who are physically abusive, who hit, who try to use fear to gain control over their kids, right? Like let me get the belt. I'm going to go get that belt. I'll give you something to cry about if you don't stop crying or kids who come home from school and maybe they had a bad day and their parents are like, "You don't know what it's like to have a bad day. You have it easy. Wait until you see what it's like when you're an adult." That is creating mistrust. Alyssa Scolari [27:59]: You as a parent are teaching your kid or as a caretaker are teaching the child that you cannot confide in me because I am only going to hurt you when you are vulnerable or if it's like the cheating circumstance, you cannot confide in me, you cannot trust me because I am doing things that are wrong. I am not acting in alignment with the morals I am trying to teach you. Alyssa Scolari [28:28]: Betrayal, of course, can also come in sexual abuse. That is one of the ultimate forms of betrayal. It can come in so many ways, right. Which is why I always promote transparency with parents and kids. A lot of parents feel like I shouldn't tell my kid this. And I feel like, yes, but if your child is asking or if they're snooping, then it's probably time to talk to them. Alyssa Scolari [29:02]: For example, I've seen a lot of parents and caretakers be dishonest with kids about how maybe a loved one has passed. If a loved one has passed in a way that is like shameful or, not shameful because there's no way of dying that is shameful. But what I mean is like stigmatized as being shameful in society, right? So let's say that a parent passes away and the other parent tells the kid like, "Mommy died from." I don't know, whatever it could be, right? Mommy died in a car accident or mommy died of a heart attack when the reality is that mommy died from a drug overdose or a suicide, that can manifest in betrayal. Alyssa Scolari [29:55]: Now again, if your child isn't asking, "Well, how did mommy die?" Then that's your sign that your child isn't ready to know. Kids will ask and when they ask that means that they are ready to hear, even if it might be painful. So lying and trying to keep that lie, all that does is manifest betrayal because then that child will find out, because kids find out everything. If I have learned nothing from working with kids over the years, I know that they just know everything, they really do. Alyssa Scolari [30:34]: So no, that can be a very controversial topic. I feel very strongly about it. A lot of the new research coming out on parenting, they also feel very strongly about it. Lying to your kids about things like that can manifest in betrayal. So there's all different ways betrayal can manifest as with any of the other core wounds, but it creates a deep, deep sense of mistrust in one self and in the world. And this can come out in adulthood as somebody who is extremely controlling and somebody who again, might not be able to get into relationships because they don't trust other people or they get into relationships and they feel the need to control that person, right? Like I need to have your passwords, your Snapchat password, Instagram password. You need to give me access to your phone 24/7. Alyssa Scolari [31:32]: No, I'm not saying that transparency with social media is a bad thing, I think it's a good thing, but there's a difference between a healthy transparency and somebody who's being controlling and is like, "Give me your phone right now, I'm going through it. I want to see what's going on. I don't trust you." Without really any kind of like rhyme or reason, right? So betrayal can look like that, or it can look like the person who just avoids relationships all together. As we can see with these core wounds so far, they all deeply affect our relationship with ourselves and others, especially romantic relationships. These core wounds can have a huge, huge impact on our adulthood, which is why we are talking about them today. Alyssa Scolari [32:26]: So that is a lot. I'm going to stop for today. I'm going to pick this back up next week. I actually really enjoy talking about this because I feel like we can all relate. Feelings of betrayal for me personally, I can relate, but I don't think that this one is as relatable for me as rejection and abandonment, but I also tend to believe that the betrayal one is truly one of the most harmful ones. All of these core wounds by the way, we can fix, you can heal, you can get better. We are going to talk about that in next week's episode. Alyssa Scolari [33:10]: So I hope that you enjoyed this today. We'll be back next week with part two, where we talk about the last two and then some ways to be able to heal from these core wounds, right? The last two are fear of humiliation and injustice, fear of injustice. And so we're going to talk about that next week. And if you have any questions, you know where to find me. As a friendly reminder, if you would like any special requests for episode topics, you certainly can feel free to request a topic. If you are a Patreon member. So our Patreon is at the link in the show notes. So please feel free to go over and check that out. And if you haven't done so already, please give us a follow on Instagram. The handle is light after trauma. I am holding you all on the light. I am sending you all so much love and I will be back again next week. Take care everybody. Alyssa Scolari [34:07]: Thanks for listening everyone. For more information, please head over to lightaftertrauma.com or you can also follow us on social media. On Instagram, we are @lightaftertrauma and on Twitter it is @lightafterpod. Lastly, please head over to patreon.com/lightaftertrauma. To support our show, we are asking for $5 a month, which is the equivalent to a cup of coffee at Starbucks. So please head on over again, that's patreon.com/lightaftertrauma. Thank you and we appreciate your support. Alyssa Scolari [34:43]: [Singing].

We are welcoming in a “new day”...at night. ANYWAY. We're forecasted for a lot of snow (and ice). Collin traveled to give a talk and found out people like him. Ugh. We discuss giving talks and presentations. Collin gives his review of the Chrysler Pacifica Hybrid (tldr; he loves it). Aaron is busy playing World of Warhammer III. Plus, Brandon tells us we should have a reason for doing things. MORE SNOWCanceled schoolsCollin is “famous”…ugh….Self worth and valueGiving talks and presentations Chrysler Pacifica HybridAaron is playing Warhammer IIIYou don't know what you don't knowHaving a REASONCheck out our other episodes: ohbrotherpodcast.comFollow us on InstagramCheck us out on Youtube

ANNOUNCEMENT: SUPPLEMENTS TO HELP REPAIR MITOCHONDRIA TO REDUCE OXIDATION & MAKE ATP Dissolve-It-All - breaking down scar tissue, inflammation and calcification PUFA Protect - Eliminating a lifetime of a high PUFA diet Purely K - Reduce Calcification NAD Power - Allow Your Mitochondria To Create Energy! Probiotic Endotoxin Reducer - Lower Endotoxins! Oyster Extract - Bioavailable Copper, Selenium & Zinc Resilien-C - Whole Food Vitamin C Panacea - Pure Shilijit 84 Minerals + Chelate Iron Digest-it-All - Better assimilate & absorb your food Use discount code EHR15 :) Where Mr. Atom Bergstrom gets all of his information is beyond me. If you're interested in the more "strange", weird or esoteric concepts about life, you'll want to listen to this interview with Atom Bergstrom. We talked about so many interesting topics. One of the more timely discussions was this whole ALS ice bucket challenge. Does it really help to poor cold water over the top of your head in a Youtube video? [spp-tweet "The act of defining life, limits your perception of it. - Stuart Wilde"] As Kate surmised on one of our previous shows, yes this is bringing awareness but that's all it's doing. Awareness alone won't cure anything. What "cures" people is lifestyle and diet and their own bodies. Perhaps ALS is really lyme disease in disguise? Maybe there's more going on with ALS than we know! We also talked about how to avoid having negative energy and emotions effect you and pull down your vibration. He talked about how he uses specific strategies on how to disperse negative or low vibrational emotions off of you on a daily basis. Very interesting. We also discussed the placebo effect and how that plays a role into super conscious. Also up for discussion was this whole idea of fluoride in our municipal water systems. Did you know that even if you eat organic food, there are chemicals falling from the sky on your produce and most likely that same organic produce was watered with municipal water that contains, fluoride, chlorine, chrloramine, amonia, and even pharmaceutical prescription drugs. Ugh. But there are ways around every challenge. Listen to this episode with Atom Bergstrom to learn some cutting edge techniques for improving your health! I hope you enjoyed this podcast as much as we did. If you enjoyed it please share the love with your friends by clicking "like" and "share" on this page! Sponsors For This Episode: Carnivora Superfoods - Target & enhance your immune system with Carnivora supplements to prevent disease and feel amazing. Kate and I highly recommend checking them out! BioAge Superfoods - Kate and I have been taking BioAge superfoods now for quite some time and we don't want to be without it. Their spirulina is incredible. Pick some up today. You'll be glad you did. Show Notes For This Episode: Carnivora Immune System Support Raw Chef Program Q-1000 NG Laser BioAge Micro Algae Bill Hencke Pranic Healing ALS is Lyme Disease Dr. David Kennedy on fluoride - see books Chemical Engineering News Interview with Roland Thomas from Bioage Micro Algae Bruce Lipton show - see books Dr. Joe Dispenza - see books The Amazing Randi Dr. Bernard Jensen - see books Nexus Magazine Commercials During This Episode: Commercial #1 - Carnivora Immune System Support Commercial #1 - Raw Chef Program Commercial #1 - Q-1000 NG Laser Commercial #1 - BioAge Micro Algae Find Extreme Health Radio On: [include file=showpage-itunes-soundcloud-stitcher.html] Please Subscribe: Subscribe To Our Radio Show For Updates! Other Shows: [include file=show-links.html] Listen to other shows with this guest. Show Date: Thursday 8/28/2014 Show Guest: Atom Bergstrom Guest Info: Atom has been teaching workshops and seminars across the U.S.A. since 1977. With over 50 years experience in health and nutrition,

Join Stelly and Gavin as they discuss the fourteenth episode of season three, Ugh. It's a SpongeBob Special where we see the gang in a 1,000,000 BC type thing, plus Patchy the Pirate. Elsewhere, Stelly has had a cultural weekend while Gavin's reason for having facial hair is revealed.Email: spongebobsquarecast@gmail.comTwitter: @sbsquarecastInstagram: spongebobsquarecastPatreon: patreon.com/spongebobsquarecastSupport the show (https://www.patreon.com/spongebobsquarecast)

Chelsea and Carl discuss their person as well as the national epidemic of addiction, alcoholism, suicide increased since the beginning of COVID-19. It has taken its toll on a lot of people and our downer of an episode does not make it any better. Listen as we discuss it all… Ugh.

UGH, THIS MOTHER FUCKER! Are you guys ready for more extremely horrible "pickup artist lessons"?! This shit gets us hype so, be ready for some extreme shit talking this episode!

EDITOR'S NOTE: YES We know there are more important things to be paying attention to right now in the world.... however this whole thing effects this podcast! In Episode 473 of The Pull Bag we go AFTER DARK!! As The Amazon Comixology merger has been finalized. TFG2Mike brings in Ryan The UnEvenFlow, Nicholas Finch, and Ladywreck to give their opinions on how bad this amazon merger is. As always Make Your Great Escape Into Comics......maybe?

What you'll learn in this episode: How Whitney has maintained relationships with clients since moving her studio from Chicago to Lake Geneva, Wisconsin Why the pandemic has changed the way we buy and sell jewelry for good Why Whitney sometimes turns down commissions and encourages clients to work with other jewelers How social media has changed the type of jewelry customers want How to find creative ways to give clients a luxury experience when you can't meet in person About Whitney Abrams Whitney Abrams' high-karat gold creations are a reflection of her love of the Renaissance aesthetic and her admiration for the technical abilities of the Ancients. Inspired by the rich tones of high-karat gold and intense hues of unique, precious stones, her hand-made pieces involve the wearer in an experience of regal beauty. Her interest in intaglios and cameos has led her to develop relationships with several German carvers who provide her clients with custom carvings that connect them with Abrams' creations on an unparalleled level. Whitney has studied goldsmithing and exhibited her jewelry throughout the United States and Europe. Her work is included in a number of publications on the subject of jewelry as an art form and jewelry making techniques. Whitney Abrams presents her collections privately to collectors throughout the country, as well as online. Additional Resources: Website Twitter Facebook Instagram Transcript: Since joining the Jewelry Journey Podcast as a guest in February 2020, maker and jewelry gallery owner Whitney Abrams' life and business have changed dramatically: she moved away from her busy Chicago studio to vacation hotspot Lake Geneva, WI, and has spent the last year finding the inspiration that comes with a more relaxed lifestyle. Although it's been challenging to provide customers with the luxury experience she's known for in a pandemic, Whitney has discovered that the relationships she fostered with her customers can withstand the distance. She joined another episode of the Jewelry Journey Podcast to talk about what life is like in Lake Geneva; how she keeps in touch with longstanding clients; and how social media has helped her business grow. Read the episode transcript here.  Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. Today, my guest is Whitney Abrams, owner and founder of Whitney Abrams Jewelry, a private jewelry studio specializing in high-karat jewelry. If you haven't heard part one, please go to TheJewelryJourney.com. Welcome back.    When people tell you they want something redone from old pieces, or if somebody dumps something on your desk and says, “O.K., here's my grandmother's ring,” do you see something visual immediately, or do you have to play with it? How does that work for you?   Whitney: Sometimes I do and sometimes I absolutely don't. When I had my gallery, I was not in a place where people brought repairs. I didn't change watch batteries or things like that. It was a jewelry gallery. I did have someone dump their teeth out on my jewelry counter one day, and I thought, “Well, this is a no. I'm not doing this.” I learned very early that if I didn't have a connection with visualizing something or seeing something to make, or if I didn't have a connection with the customer, that it was better for me to refer them to someone who could accomplish what they wanted to accomplish. Step one was setting a boundary and saying, “I don't want to take this on because it never turns it out well.” I would much rather be spending time connecting with a piece, creating something meaningful for somebody.   Because I did that, I focused on creating a relationship with many of my clients. Even if it was an art piece I had already made that was in the case, if they came in and connected to it, that's an introduction to creating a new relationship with that person, because they see something in you they relate to. When they would bring something in, I would design things and say, “What do you think of this?” I would do some drawings. If it was a fit, we would go with it, and sometimes it wasn't.    Very rarely was it absolutely not how I wanted it to turn out, but it was a bit of a process. Sometimes it came very naturally, and sometimes when it really didn't, I would say, “You know what? I think you need more of a bench jeweler,” or “You're welcome to take these drawings and have somebody do whatever you want with them.” People can't visualize the way they think they can, and then the end product is not going to be what they anticipated, which is the worst scenario you can be in doing anything custom.    It was always a thrill to have someone open up the box and say, “Oh, this is just what I wanted.” They have to take your life experience into it. If you know that putting something on a round chain is going to make it roll over when someone's wearing it, I would advise them to put that on a flat chain. “No, I want a round chain.” “O.K., well, you'll be back.” She said, “You said not a round chain, and I'm back. Put it on the flat chain.” That ended up being a seven or eight-year-long relationship at this point now. It could have gone the other way, but it didn't. Sometimes I do say no to things.   Coming back around to Instagram, people have such a wide-open view of everybody's jewelry that's out there. You used to have to buy a magazine and look through it and see this designer or that designer, and only if they were lucky enough to get an editorial or pay for an ad were they in magazine. Now, it's at everybody's whim. They can scroll through and see designers they've never seen before.    I just had somebody say the other day, “I like these stones from my grandmother, but I like this girl's jewelry.” She's bought jewelry from me before and I've done custom things for her. I said, “That looks wonderful. If you like her jewelry, you need to contact her. I know she does custom. If you would like your piece to turn out looking like one of her pieces, then you need to contact her. I think that would be great. The next time you want something that's more like what I do, please come back to me.” Then she said, “No, I changed my mind. I want it to look similar to my engagement ring.” I think the exposure people have to other artists is incredible and wonderful, but it brings a whole bunch of different design ideas into their minds that they never knew were possible. I don't mind at all referring people to other people because in the end, you want that person to be happy.   Sharon: Do you find, because there are so many design ideas, that people come in and it's a mishmash? “Today I want it to look like this designer's jewelry, and tomorrow who knows."   Whitney: I think sometimes people have homed in more than they think they have. If they come to me and say, “I kind of like this,” I'll say, “Well, that's not necessarily what I do, but let me show you some pieces I've done in the past.” I have hundreds and hundreds of images, probably thousands; I have never really thought about it. But I dig back and send them images of pieces I have made, and then they say, “Oh yeah, that's great. I like that. I can see that.” Either they connect with it or they don't; that's fine too.    I'm definitely older in the business. When I started making jewelry, you had to have someone take professional slides and you had to get them printed. There was none of this instantaneous, “Oh, I have a phone with a camera, and I can send you a picture halfway around the world in two seconds.” Now that that's available, it's absolutely instrumental to my business. I think it has opened the doors for people to have more dreams about their pieces than they ever could before. Unless you had direct exposure to the people, you didn't have the ability to see what the possibilities were.    Sharon: I know in the past when we've talked building a luxury experience, you had a private log. How do you keep that going in what you're doing now?   Whitney: I don't have the same personal interaction. It's been a year since I moved. I've only met with a few people in person; I'm going to say less than 10 that I can think of off the top of my head. That's definitely something I'm working on, and I don't how it's going to look. I tried to meet with a customer in November in a very lovely restaurant I love in Chicago, and she was nervous the whole time because she moved to a more rural area, and she wasn't comfortable with all the people around here. I don't have an office in Chicago anymore, so I'm going to have to figure something out there. It's a little bit of a challenge and nothing I thought I would be facing.   For the moment, people seem to be happy with Zoom calls. They feel comfortable at their own house. I've upped my game in terms of my packaging, so the presentation when they receive something is nicer than before, and I think they appreciate that. I've had so many compliments on my new packaging, which has been nice because I did work on hard on it. I'm trying to lend a little extra where I can because I haven't been able to be in person.   Sharon: If you can't be in person all the time, how do you build a luxury experience? What do you do, like you've done with your packaging? What do you do over Instagram?   Whitney: I don't know that it's attainable to have a luxury experience over a screen or by scrolling through your phone and sitting in your car. I think we're going to have to come back around, to wait for whatever's going to happen with this virus so that people eventually can be back in touch with each other. When I thought things were calming down and we could get back to it, my ideas were to have a private room at an upscale restaurant, have food and drinks provided by the restaurant, and have a very small trunk show. That is very doable and very luxurious. People like to receive an invitation like that. Those are things I have on my to-do list, but I haven't been able to do them yet.   I think the actual luxury experience you receive is when you come into a private jewelry store or salon, and someone offers you a glass of champagne and things like that while you shop. Unfortunately, we can't have champagne through Instagram right now, but for the last two years, I've sent all my customers a Christmas/holiday gift that was jewelry related that they all loved. You know Julie and Amy from Juler's Row. I had her do a dish for me last year, and I sent that out to all my customers, a little ring dish, and they loved that. This year I did something else. It's all jewelry related, but it's just in remembrance. It's not only people that bought from me this year. It's my long-term customers and the additional people that purchase. It comes from remembrance and, “Hey, I'm thinking about you. Hopefully we can see each other again soon.”     Sharon: I think having people know you remember them is so important. You mentioned earlier that when you first opened your store with other designers, some people were already collectors of yours. I guess the $64,000 question is what do you consider a collector? It's such a hard thing to answer. What do you consider a collector?   Whitney: I think somebody that has a passion for a certain area of jewelry. Some people are a little more contemporary-based and some people are more interested in ancient, or they only buy antiques or they only collect pearls. They have to have a passion for it. They collect and add meaningful pieces to their collection. I had one customer who didn't wear jewelry; she collected it to collect it, and she loved every piece. She has enormous amounts, a couple of different segments of jewelry, American Indian and some contemporary. It's very interesting. So, I think a collector is somebody who has an eye for a certain thing they love, something they have a meaningful connection to. If they can afford to have whatever they want, good for them, and if they can't, if they buy one piece a year, I think that's great. Like you say, it's a hard thing to answer.    I collect jewelry. When I go into a store—typically I would go into a gallery—I'm looking for things I connect to. I can't believe how much jewelry I have in my business. I hardly have any of my own jewelry compared to what I have of other people's jewelry. I have pieces by 15 or 20 different jewelers I've known over the years, things I see and love and I think, “I would love to own that. Hopefully I can buy that.”    Then I have things that mean a lot to me because they're historical, like my John Paul Miller jewelry. Because my friendship with John is so meaningful to me, his pieces mean more to me than any other pieces of jewelry I have. I think if you have a personal connection with somebody, it makes it even more special. I have a couple of master jewelry idols of mine that I still hope to purchase a piece from.   Sharon: Do you wear most of your own stuff?    Whitney: I mix it up. My best person that wears my jewelry is my mom. She always has my jewelry on. She can be cleaning the garage with a four-ounce necklace on. It's very funny. Everywhere we go, people will stop and say, “Your earrings are amazing.” She'll say, “Oh, she made them.” She tells everybody. She's always head-to-toe in my jewelry.    I do wear certain pieces of mine. I'm lucky enough to have my John Paul Millers. I do wear many of those pieces on a daily basis, which maybe I shouldn't, but I don't care. I enjoy them so much. Then I have other people's jewelry that I mix in. Some days I will wake up and feel like wearing all my knockout jewelry, or a lot of contemporary pieces that are fun. Mostly I wear black clothing, so it's easy to mix things in. It's a mood; if I wake up and I want to wear this, or sometimes I realize I've been wearing the same earrings for three weeks.    Sharon: I didn't realize there was another color besides black.   Whitney: Right, I know you well enough to know. It's wonderful. It's a great backdrop for everything.   Sharon: It is. I was sitting in the doctor's waiting room yesterday with women who probably could have been my kids, but everybody had black on. I did too, and I thought, “Gosh, it is a backdrop. It's a great backdrop.”    Whitney: Yeah.   Sharon: When you go back to Chicago once things turn around, what is your next step?   Whitney: My next step right now is to be in a holding pattern. So many people that know me are like, “What are you doing? You're a New York/Chicago person; you're a city person. How are you doing? Are you happy?” I love it up here. I can't wait until the piers are put back in and I can go jump in the water. I think the last day I was in the water was October 19, which was late for some people up here. I spent a lot of time in the summer going up to Canada, staying on an island in the summer. I was an outdoor person when I was not in the city, but it's a great lifestyle. You go down at night and watch the sunset off the pier.   For now, some of my things are still in storage, but I'm planning on getting the rest of my tools out. I have a very functional studio set up right now which I like a lot, so I'm planning on staying. I'll see what happens in Chicago. Maybe I'll do more of a pied-á-terre situation where I can be down there more, not in hotels and things like that. It's a little bit up in the air, but so far, so good. I've met a lot of like-minded people with interesting jewelry up here, which has been wonderful, making a little community like that. But I'm still in touch with all my friends and customers, so we'll do a trunk show up here or something.   Sharon: Is the kind of jewelry people look at up there different? Do you find a difference in people who are more outdoorsy?   Whitney: A lot of people up here wear silver jewelry. You would be surprised, not knowing anything about the area. One of the jewelry collectors in Chicago—I don't know if you went to the Driehaus in Chicago.    Sharon: Yeah.   Whitney: O.K., so Richard Driehaus passed away in March. He had a big home up here. His home on the lake just sold for $41 million. There's a home next to him for $21 million, and we're not talking about little lake homes. There is a huge community of people that wear jewelry. There are incredibly successful jewelry stores up here that sell very high-end commercial lines you would find in Bergdorf's or Saks, and they have boutique shops up here. It's an enclave of people that have been here forever, people who have come in from Milwaukee and Chicago through the years, people who just come for the summer. People are flying here from New York City and not going to the Hamptons. It's like Traverse City in Michigan. It's very much that type of community, and there are very high-end restaurants and stores. It runs the gamut.    Sharon: Not log cabins.   Whitney: No, it is not. You don't need your flashlight to go out at night.   Sharon: Are there jewelry galleries up there?   Whitney: I would say the closest to a jewelry gallery would be the Opal Man, which is a gemist who sells only opal jewelry, which is an interesting concept. There are other stores that will do repair, stringing and things like that, but then they have very high-end jewelry lines, lots of diamonds. They also have tourist jewelry that is geared around the lake, a charm of the lake with the location of someone's house on it, things like that. There's one woman whose specialty is equestrian jewelry. She only has equestrian customers. It's very specialized, but there isn't a jewelry gallery.   Some people have asked me, “Are you going to open a store there?” It would be a great place to have a store. That would be something I'd have to think about long and hard, because it's harder to be at the lake for four or five hours a day if you have a store, and I really enjoy the lake. So, we'll see what happens. It's not anything I thought would happen, so it's a new adventure, but it's really nice.   Sharon: I admire your ability to roll with the punches. One question: what is your attraction to high-karat gold jewelry? Why not silver? What is it that attracts you?   Whitney: I love silver jewelry. I have a huge collection of silver jewelry starting from when I was little. I don't know. It was an unbelievable feeling when I walked into that exhibition of Greek items. I was completely overcome. I knew it was a visceral reaction, my entire body, and I said, “This is what I'm going to do.” I don't know where that came from. I had Greek history and things like that in school, but I never thought, “Oh, I have to have high-karat gold jewelry.” I was always attracted to other people's work, like Bill Harper, John Paul Miller, things like that, which I had known about previous to seeing this exhibition, but I never thought, “Do I want to make that?” Once I saw this, I was so overcome. Then the Victoria & Albert Museum Vault Collection, when I walked in there and saw all these pieces I had seen in the past in books, when I saw them in person, I literally started crying. I thought the guard was going to kick me out or something, like “Who is this crazy person?”   I've always enjoyed working with it. I've never done sheer 24-karat; I've always done 22. The fact that you can fuse it, the fact that you don't have to use solder and it's so malleable and doesn't fight you—if you want to set in an opal, you're not pushing against 14-karat and hoping you don't break the stone. It folds around it like butter. It's such a pleasure that you can alloy your own metal and use different draw plates to make various shapes, if you're lucky enough to have options in that respect.    It allows for a different form of creativity, but you're also honoring the past. There's always some sort of historical element that comes into any piece you make in 22-karat. You're using granulation or chain making or fusion, things you cannot do with other karats, unless they're specialized 18-karat fine silver, which you can granulate within chains very easily. I think part of it is the ease. I don't make 14-karat gold jewelry, but sometimes even with 18-karat gold, I'm fighting with the sheet and it's turning black because it has so much copper, and I'm used to very little copper. So, it's an absolute pleasure to work with. I think once someone catches the bug of the buttery look of it, you can hold a piece of 14-karat next to it and think, “Ugh,” but if you saw the 14-karat piece on its own, you'd think, “That's beautiful.” It's just something that came over me. I'm not sure where it came from.    Sharon: Well, your jewelry is beautiful.   Whitney: Thank you.   Sharon: I appreciate you being here today and for rolling with the punches and being so flexible.    Whitney: I'm aware of the adventure I'm on.    Sharon: Whitney, thank you so much for being here.   Whitney: Thank you, Sharon. Great to speak with you again. Take care.   Sharon: You too, thanks.   Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

About LynnCloud Architect who codes, Angel InvestorLinks: Lynn Langit Consulting: https://lynnlangit.com/ Groove Capital: https://www.groovecap.com/groove-capital-minnesotas-first-check-fund Twitter: https://twitter.com/lynnlangit GitHub: https://github.com/lynnlangit TranscriptAnnouncer: Hello, and welcome to Screaming in the Cloud with your host, Chief Cloud Economist at The Duckbill Group, Corey Quinn. This weekly show features conversations with people doing interesting work in the world of cloud, thoughtful commentary on the state of the technical world, and ridiculous titles for which Corey refuses to apologize. This is Screaming in the Cloud.Corey: Today's episode is brought to you in part by our friends at MinIO the high-performance Kubernetes native object store that's built for the multi-cloud, creating a consistent data storage layer for your public cloud instances, your private cloud instances, and even your edge instances, depending upon what the heck you're defining those as, which depends probably on where you work. It's getting that unified is one of the greatest challenges facing developers and architects today. It requires S3 compatibility, enterprise-grade security and resiliency, the speed to run any workload, and the footprint to run anywhere, and that's exactly what MinIO offers. With superb read speeds in excess of 360 gigs and 100 megabyte binary that doesn't eat all the data you've gotten on the system, it's exactly what you've been looking for. Check it out today at min.io/download, and see for yourself. That's min.io/download, and be sure to tell them that I sent you.Corey: This episode is sponsored by our friends at Oracle HeatWave is a new high-performance query accelerator for the Oracle MySQL Database Service, although I insist on calling it “my squirrel.” While MySQL has long been the worlds most popular open source database, shifting from transacting to analytics required way too much overhead and, ya know, work. With HeatWave you can run your OLAP and OLTP—don't ask me to pronounce those acronyms again—workloads directly from your MySQL database and eliminate the time-consuming data movement and integration work, while also performing 1100X faster than Amazon Aurora and 2.5X faster than Amazon Redshift, at a third of the cost. My thanks again to Oracle Cloud for sponsoring this ridiculous nonsense.Corey: Welcome to Screaming in the Cloud. I'm Corey Quinn. So, I've been doing this podcast for a little while now—by my understanding, this is episode 300 and something—but back when the very first episode aired, I had pre-recorded the first twelve episodes. Episode number ten was with Lynn Langit who is, among many other things, the CEO of Lynn Langit Consulting, she is also the first person to achieve the AWS Community Hero and equivalent designations at all three of the primary tier-one hyperscale cloud providers, which I can't even wrap my head around what it takes to get that at one of those companies. Lynn, thank you so much for agreeing to come back now that I'm no longer scared of the microphone.Lynn: Well, thank you for having me. It's great to be back, Corey.Corey: So, it's been a few years now since we really sat down and caught up. And what an interesting few years it's been. There's been a whole minor global pandemic thing that wound up hitting us from unexpected and unpleasant places. There's been a significant, I would say, not revolution but evolution in how adoption of cloud services has been proceeding. The types of problems that customers are encountering, the conversational discourse has moved significantly away from, “Should we be using cloud?” Into, “Okay, we obviously should be using Cloud. How should we be using it?” And the industry keeps on churning. Sure there's still rough parts, there are still ridiculous aspects of it, but what have you been up to?Lynn: Well, as you might remember, I have an independent consultancy where I do really what my customers need. I work across different clouds, which keeps it interesting and fun, but I've had a focus over the past few years in supporting bioinformatics research. Before the pandemic, it was mostly cancer research. Since the pandemic, it's been all Covid, all the time.Corey: All Covid, all the time sort of has been the unofficial theme of this. And it's weird. I know, we're in 2022, now, but it still feels like on some level, it's like, “Man, this is March 2020; it's still dragging on, on some level.” There have been a number of stories in the world that is, let's say medicine-adjacent, more so than—we're all sort of medicine adjacent these days, but there's been a lot of refocusing away from things like cancer research into Covid and similar pandemic respiratory diseases. Do you think that there's a longer-term story where we're going to start seeing progress stall on things that were previously areas of focus—in your case cancer—in favor of reducing infectious disease, or is it really one of those ‘rising tide lifts all boats' type of scenarios?Lynn: Yeah, it's the latter. It's been really interesting. Without getting too much into the details, you know, you think of genomic research for drug discovery, you know, we started with this idea of different DNA sequencing cohorts. So, like people from the—you know, that started from the United States, people that started from Africa, you know, different cohort as a normative to evaluate the effectiveness of diseases, what was an area of research already was to go down to the level of what's called single-cell RNA. So, look at the expression of the genomics by cell area, so by the different parts of your body.Well, this is similar to what has been done to understand the impact and the efficacy of potential Covid drugs. So, this whole single-cell RNA mapping cohorts of what is normal for different types of populations has resulted in this data explosion that I've never seen before. And I see it as positive for the impact of human health. However, it really drives the need for adoption to the cloud. These research facilities are running out of space if they're still working on-prem.Corey: I spend an awful lot of time thinking about data and its storage from a primarily cost-focused perspective, for obvious reasons, and that is nuanced and intricate and requires, sort of, an end-to-end lifecycle policy. There's this idea of, ideally, you would delete old data you don't need anymore, but failing that you, maybe aspirationally, don't need 500 copies of the same thing lying around. Maybe there are ways to fix that. And that's all within one cloud ecosystem. You work across all of the clouds. How do you keep it all straight in your head trying to figure out things around lifecycles, things around just understanding the capabilities of the various platforms? Because I got to say, from my perspective, it's challenging enough only bounding it to one.Lynn: Yeah, it's the constant problem. The big clients I had over this past year were not on Amazon, they were on other platforms. So, it seems like it sort of goes in cycles. And what I'll sometimes need to do is hire subcontractors that have been working on those platforms because you can't, I mean, you can't even know one platform, much less all of them to the level of complexity in order to implement. One thing that is kind of interesting though, in bioinformatics is—and different than the other domains—is when you talk about data, it's a function of time first and cost second.So, they will run on less computational resources, so that they can, for example, not overspend their research grant, and wait longer for the results. And this has been really an interesting shift in my work because I used to work with FinTech and ad tech, where it's all about, get it out there fast. And we don't really care how much it costs, we just want it super fast. So, this continuum of time or money shifts by vertical. And that's been something that—I don't know, it's kind of obvious, in hindsight, but I didn't really expect until I got into the different domains.Corey: It's always been fascinating to me watching how different organizations and different organization types wind up have interacting with cost. I mean, I've been saying for a while now that cost and architecture are the same thing when it comes to cloud. What are your trade-offs? What are your constraints? In many venture-backed companies, it's when you have a giant pile of other people's money raring to go, and it's a spend it and hit your milestone if you want to get another round of funding, or this has been an incredible journey Medium post in the making, then, yeah, okay, go ahead and make the result happen faster. Save money is not the first, second or third order of business as far as what you're trying to achieve.In academia, where everything's grant powered. And it's a question of, we need to be able to deliver, and we need to be able to show results and be able to go and play the game and understand the cultural context we're operating in, and ideally get another grant next year, it completely shifts the balance of what needs to be prioritized and when. And I don't think there's been a lot of discussion around that because most cloud cost discussions inherently center around industry.Lynn: They do and they focus on the industries where they're willing to spend most. So, most of the reference examples are, they always prioritize for time and money is sort of unlimited. I'll give you an example—this was from a few years back—some work I did with a research group in Australia, and again, it was a genomics example. They were running on-prem, and to do a single query, it took them 500 hours. And I was just like, “Are you kidding me?”And they're like, “Hey, cloud lady, what can you do?” Right? So, we gave two solutions, and the first solution was kind of a more of a lift-and-shift kind of a solution because they didn't know anything about cloud. And it took a few hours. The second solution was what was in our opinion, super elegant, it was one of the earliest data lakes, it took minutes.Well, it was a big hit to the ego that they adopted… the easier solution. But again, it's a learning because another dimension about cloud architecture is usability. The FinTechs are like, “We're going to get it really done fast; we'll hire who we need to hire.” The biotechs, they can't afford to hire who they need to hire because there all being hired by the FinTechs. So, you have these different dimensions you need to optimize for that aren't really obvious if you just work in the industries that optimize for time.Corey: And the thing that always gets overlooked is that in most environments, the people working on things are more expensive than the infrastructure themselves. And back when Lambda and all the serverless joy came out, my first iteration of lastweekinaws.com website was powered entirely by Lambda functions, S3, and other assorted bits of nonsense. Today, it's on WordPress.And it's not because I think that is somehow the superior architecture from a purely technologist point of view, but because I have to find other people who aren't me or one of the other six people in the world at the time who could stuff all that into their head and work on it effectively, should be able to make changes to the website. That is not something I need to be focusing on. There's something to be said for going to where there's a significant talent pool, rather than pushing the frontiers of innovation in areas that don't directly benefit whatever it is your organization is targeting.Lynn: Yeah, it's really interesting, when Covid hit back in 2020—kind of an interesting little story here—one of my clients is the Broad Institute at MIT and Harvard—they're a well-known research organization for, you know, cancer genomic datasets—they were tasked with pivoting their labs so that they could provide Covid testing capability. And I was a long-term contractor with them, so they brought me in for an architectural cloud consultant. I said, “This clearly is a serverless. I know you guys haven't done this before, but this is going to be burstable, you don't know how big this is going to need to go.” And then just to make life interesting, in the middle of the build of that, I was one of the first people in Minnesota to get Covid, so I actually wasn't able to go and complete it, nor was I able to get a test because there weren't tests.I mean, you know, I can't make this stuff up. I was in the ER saying, “Okay, is this the end of me, or can I go back and get you some tests?” [laugh]. So, it's really kind of two things—kind of a weird story. And also, life situations will cause change, and so the Broad did launch that pipeline, and it was serving up to 10% of the Covid tests in the United States.But they had never done anything serverlessly or had considered it before because they didn't need to have that amount of change. It was really, again, a big thing when I came into human health. Prior to that, I was doing all serverless all the time. You know, I came into human health, and they were saying, “Okay, we're going to have massive VMs.” And I was like, “No…” but you know, you have to meet the client where they are.Corey: I think it's the easiest thing in the world, particularly as a junior consultant—because you do not see senior consultants doing this ever, you know, after the first time—to walk into an environment, look around and have zero context into what's going on—because you're a consultant; you haven't been there and say, “This is ridiculous. What fool built this?” Invariably, to said fool. Now, most people don't show up in the morning hoping to do a terrible job at work today, so there are constraints that you are certainly not seeing. And maybe it was an offering wasn't available that maybe they weren't aware of it. Maybe there was a constraint that you're not seeing.But the best case is you're right and you just made them feel terrible, which is not generally a great way to land more consulting projects. It's always frustrating to me because even looking at a bill and having a pretty good idea of what's going on, I always frame it as, “Can you help me understand why this is the case? Had you considered this, or is that not an option?” As opposed to categorically saying, well, this is not the way to do it. Because once you're wrong when you're delivering expertise, it takes a lot to build that back, if it's even possible.Lynn: Well, again, from human health because, you know, they were consuming the vendor information, they thought they wanted to learn how to use Kubernetes, but what they really needed to learn was how to do archiving to reduce their storage costs.Corey: Yes. Kubernetes is a terrific solution for a bunch of problems and create several orders of magnitude more somewhere along the way. My somewhat accurate, somewhat snarky observation is that Kubernetes is great if your primary problem is you want to pretend you work at Google but didn't pass their technical screen. I don't really want to cosplay as a cloud provider myself, most days. That said, there are use cases for which it makes sense, but context is everything, and generally speaking, I don't tend to follow a hype trend to figure out whether or not it's going to solve my particular problem.Lynn: Well, here's the soundbite: “Kubernetes is today's Hadoop.”Corey: Oh, there are people who are not going to like that. I made a tweet, I think—Lynn: Tough.Corey: —three years ago now—Lynn: It's true. [laugh].Corey: Oh, yeah. Tweet three years ago or so that said, “Hot take: In five years, nobody's going to care about Kubernetes.” And I think I have a year or two left on that prediction. And what I said at the time was that not that it's going to go away and not be anywhere—because enterprises do not move that quickly—but it's no longer going to be the sort of thing that everyone is concerned about at a very high level. The Linux kernel has a bunch of aspects to it that we used to have to care about a fair bit. Now, a few people really, really need to care about those things; because of those folks' hard work, the rest of us don't have to think about it at all. And that is the nature of technology, in the fullness of time.Lynn: Well, another way to think about it is Kubernetes is a C++. Certain people are going to be experts in it and need to, and that's valid, right, but what percentage of developers code in C++. Like, ten? Five? You know, it's kind of analogous, right?So, it's one of the signatures of my consultancy. You know, I'm this pragmatic midwesterner, and I love to say, “Look,”—like you said—“If you think you need this, you really need to understand the actual cost of it because it's non-trivial on all clouds.” And I get to say that because I'm independent. You know, they're doing solid work to abstract it into a higher-level implementation, but when I hear a customer say, “I need Kubernetes,” the burden of proof is on them [laugh] before I'm going to build that.Corey: Speaking of hype-driven emerging technologies, you are arguably one of the few people on the planet I can have this conversation with, and I do not mean that as an insult other people operating in this space. For context, a couple of years ago, AWS launched Brakets—which they spelled Braket without a C because it's Amazon and spelling is hard, presumably; I know, I know, there's a reason behind it—and it is their service that enables you to get access to quantum computers the same way we get access to any other AWS service: Through a somewhat janky console and some APIs. And, okay, quantum computing. We've heard a lot about it forever; it always seemed a bit like science fiction and it was never really clearly articulated what kind of value it can solve for us.So, “Aha, now it's here. I don't need to go and build or buy a quantum computer somewhere else.” And I tried using the Quickstart, and it turns out that the Hello World tutorial for quantum computing—at least to my mind—is basically an application for a PhD program at Berkeley. And I am not that type of academic for better or worse, so I kept smacking my head off of that and realizing, okay, whatever this is, is clearly not for me. You have been doing some deep dives in the quantum computing space, but as we've just mentioned, your day job is not, to my understanding, a college professor. You are a consultant, you run your own consultancy, solving data problems, particularly towards bioinformatics. What is the deal—to the layperson—of quantum computing these days?Lynn: Well, yeah, like you, I was introduced years ago and tried to read the books, and I didn't have the math and just, you know, saw it as a curiosity. Last year, I picked up a book from O'Reilly called Practical Quantum Computing, which of course, because the name was attractive to me. I read it, felt like I was getting a little bit more knowledge, implemented a learning JavaScript library with a browser-based editor—so zero-install—and it was a simulator, you couldn't run it on actual QPUs. So, I decided to see if there's any other interest in my tech community, and I got about five other developers and we ran a 15-week long book club because we all just wanted to move forward with our knowledge. Because there is this fundamental difference in the information you can get from a qubit versus a bit because a qubit can basically be, like, a globe, and so it has a superposition, and so you can have all the different mathematical points on the globe, versus a bit is on or off.I mean, that's intuitive, like, “Hey, I could get more information out of that.” So, the potential usages—it's always been tech that leads the way—is on figuring out of what are called NP-hard or computationally complex problems, and, again, this is at the edge of my knowledge, but this is where bioinformatics is. I think of it in an oversimplified way, as [N by N by N by N, all by all by all 00:16:49]. We want to see all possible combinations of all possible inputs. So, for example, we can figure out which Covid drug we should try—which set of drugs we should try—and we want that as fast as possible.So, I wanted to see, okay, you know, where's this at? Plus, like you said, Amazon introduced Braket; when Amazon introduces something, then there's some customers somewhere that are using it. I mean, that's—you know, kind of pay attention to it now. So, as I was doing this book club, I investigated all the different cloud vendors and captured all that learning in a GitHub, and just recently recorded a LinkedIn Learning course. Which again, in the learning ladder is, if this is, you know, Hello World and this is actual implementation, it's like right here.But right here doesn't exist. Like, there's nothing there, so I tried to make something to say, okay, the Amazon Braket example, how does that actually work? What is a Hadamard Gate? Why do you care? What is amplification? How do you measure it? Like, what would you do with that? And so, you know, I tried to interpret some academic papers and do that learning layer in the middle to help move people towards productivity. Am I fully there? No. Did I move further? I hope so. Do you want to come along with me? Great.Corey: You've done something, though, that I don't think anyone else yet has when I had conversations with them about quantum computing, which is we all are shaped by our own needs and our own experiences when we interact with a cloud provider. To me, I, perhaps foolishly, took Amazon seriously when they called it Amazon Web Services. “Oh, okay. Clearly, this is going to be things to help me build websites and website accessories, more or less.” So, it's always odd to me when I'll see something like oh, and here's our IoT solution that winds up powering a fleet of 10,000 robots, and I'm looking around my website going, “I don't really have a problem that could be solved by the 10,000 robots. I have a bunch that could be made a lot worse.”But it feels like it's this orthogonal thing that is removed. But some areas, it's okay. I can see the points of commonality and how you get there from here, and if I think really hard, I can do that with IoT stuff. For example, iRobot is a cloud-connected robot that talks to something that looks like a website and vacuums my house. Whereas with quantum computing, it always felt very isolated, very much an island as far as being connected to anything else that I can recognize. Bioinformatics research, as you describe it, well, yeah, I can see you get the bioinformatics research from web services. And now I can see how you can get to quantum computing through the bioinformatics side of things.Lynn: Well, the other thing that really was useful for me, I am doing TensorFlow, finally. Took me a few years, but for neural networks. And so I am using, with some of my bioinformatics clients, acceleration with GPUs and TPUs, if I happen to be on Google because it's a known thing that when you're training a neural network, again, similar you have complexity, so you have a specialized chip, where you can offload some of the linear algebra onto that chip. So, you split the classic and the tensor portion, if you will, and you do computation on both sides. And so it's not a huge leap to say, “Well, I'm not going to use a GPU, I'm going to use a QPU,” because you split. And that's the way it actually works.There's actually a really interesting paper I put in my GitHub. It is a QCNN, and it is—that's a Quantum Convolutional Neural Network that is used to analyze images of breast cancer. Because again, on the image, you can think of the pixels as what's called a tensor, which is just vectors in multiple dimensions, you need the [all by all by all 00:20:17] again; that's really how it goes in my head. You know, you have the globe of the qubit and you want to get the all possible combinations faster, so that you can analyze all combinations in the, in this case, the image. And they found, not only was it faster, it was more accurate. And that's why I am interested in this.Corey: Couchbase Capella Database-as-a-Service is flexible, full-featured and fully managed with built in access via key-value, SQL, and full-text search. Flexible JSON documents aligned to your applications and workloads. Build faster with blazing fast in-memory performance and automated replication and scaling while reducing cost. Capella has the best price performance of any fully managed document database. Visit couchbase.com/screaminginthecloud to try Capella today for free and be up and running in three minutes with no credit card required. Couchbase Capella: make your data sing.Corey: The neat part is that this might be one of the first clear-cut stories where, “What could I use a quantum computer for?” And the answer isn't something that's forward-looking or theoretical. I mean, the obvious gag when you said reading about Practical Quantum Computing is that book is probably in pre-release, I would assume.Lynn: [laugh].Corey: But it's a hard thing to solve for, and I do have the awareness that I am not an academic, academia has never been my friend, so I bias heavily for, “Well, can we use this to solve real-world problems slash make money?”—because industry—and academia focuses, ideally and aspirationally on the expansion of the limits of human knowledge. And sometimes it's okay to do those things without an immediate, “Well, how can I turn a profit on it next quarter?” What a dismal, bleak society we have if that's all that we wind up focusing on any given point in time.Lynn: Yeah, that's for sure.Corey: Which, of course, sets us up for one other thing that's a relatively recent change for you. You now have mentioned in your bio, which I believe is new since the last time we spoke, that you are an angel investor. And that is something that I recently found being applied to me as well after I made an investment in a startup that I was very excited about. I talked about in the show previously; it's called Byte Check. But honestly, I didn't realize that what I was doing was called angel investing until I read the press release because ‘strategic angel' are two words that no one ever applies to me, particularly in that order. What happened? What are you doing these days?Lynn: Well, I live in Minneapolis. So—and I moved there in 2019, so you know, my 2020 story is first I had Covid, got over that, and then I was there during the tragedy of George Floyd. So, I wanted to understand more about what were the root causes, and what I could do to make an impact in the recovery of my city. And I was really surprised to find that Minnesota is one of the most charitable states in the United States, it ranks one or two, but yet we have in the Twin Cities of Minneapolis and St. Paul, we have really unacceptable income inequality and poverty. So, something's not working.I'm a pretty charitable person; I always allocate a certain percentage of my money to charity, but I said, “I want to accelerate this.” So, at the same time, there was a new angel investment fund launched, it's called Groove Capital, that was going to focus on women-owned and BIPOC businesses. And I thought, “Hmm, this seems good.”Now, I was super intimidated because I lived in California for so many years, and check sizes in California, you just add a zero. And I thought, you know, “I don't have generational wealth. This is my own money.” You know, I'm well-compensated, but I'm not loaded.Corey: Yeah there's a common trope right now that oh, angel investor is a polite way of saying I am rich—Lynn: Right.Corey: —but I rent my home at this point, living in San Francisco. It is, I am not exactly sitting here diving into a money bin out back, Scrooge McDuck-style either.Lynn: Right. Well, I mean, you know, I'll just be transparent about it. Like everybody else, or many people, I moved out of California because of the cost of doing business there and reduced my cost of living by 40% move into the Midwest, which is awesome. So anyway, I joined this fund, and it's been just fantastic because I've listened to deals on my own and felt just like a complete, like, I don't know what I'm doing. But I'm taking advantage—Corey: How do you evaluate an idea that someone has that's early-stage, barely better in some cases than back-of-an-envelope scrawlings?Lynn: For sure, right. But what I found through the fund is I can contribute both money and time because, you know, I did this cloud expertise, and in addition to writing checks for a couple companies that I really believe in, for example, I got all these companies on the X cloud company for startups program. Because that wasn't just a known thing in my ecosystem. I was like, “Why are you paying a cloud bill? You could be on the startup program for the first year.”So, I'm impacting these new businesses with both my experience and my dollars, and I just really love it. I just really, really love it. And you know, the reasons I want to talk about it is because more people who have expertise in tech should do this because you can really, really be impactful. One of the companies that I invested in is called TurnSignl. They are coming to Los Angeles.It was three attorneys and one of their brothers is a police officer. They wanted to de-escalate situations that happen with traffic stops. So, it's a mobile app, where you push a button and you're connected to an attorney. And they do training for the community and police officers, and the idea to record the conversation and to get an attorney involved to de-escalate and get everybody home safely. And that was my first investment and I'm—it's going national, and I'm like, really, really—the kind of things I want to do you know.Corey: It is simultaneously such a terrific idea and such a stunning indictment of the society that makes something like that necessary.Lynn: Well, you know, we have to find practical solutions. We have to find ways forward.Corey: Oh, please. Don't interpret anything I'm saying a shade on that. It's like, “Well, I wish the world were differently.” Yeah, I think most people do. But you have to deal for better or worse with the hand that you're dealt, and this is, for better or worse, at the time of recording this, the society that we have, and finding the best path forward is often not easy.But it beats just sitting here complaining about everything every day, and not doing anything to be part of that change. The surprising thing I learned as I went through it was that in many cases, the value of individual angel investors is not the check that they're writing, that's basically just almost a formality, on some level. It is the expertise, it is the insight into particular markets, and the rest. The part of what you're saying that surprises me that I hadn't really considered, but of course, it must exist, is the idea of angel funds. Is this generally run by an existing VC firm? Is it a group of like-minded friends who decide, ah, we're going to just basically do the investing equivalent of a giving circle where everyone puts some money in the pot and then that decides where to go? How is it structured?Lynn: Yeah, the way ours worked is you do pay a fee—it's a small fee—to be part of it, and then they have people who vet deals for you. And then what I really like about it is the community aspect because just like in tech, when you're learning something new in tech, you have community, same thing here. We have a Slack, we have a website for each deal, we have in-person meetups when Covid situation allows, and we have chosen to start by investing in Minnesota, although we're going to, in fund two we're going to invest in Upper Midwest. And for example, here's something I would have never known. There's an angel tax credit Minnesota, that for certain businesses, you can get a 25% tax credit. Which hey, do good, be good, get good. I would have never known about that, I would have never known how to do it. All my investments so far have qualified. Fantastic. My money goes further.Corey: Yeah, it's about well, what are you talking about worrying about taxes? That there's about to be doing something good? Yeah, great. If you believe in a cause, take advantage of the tax code as written—I am not advocating tax fraud; pay every cent that you owe, let's be serious here. They have no sense of humor about that—Lynn: [laugh].Corey: —and take advantage of that. That means you have additional money to do good with. I wish that more people had an awareness around that particular school of thought.Lynn: Well, make your money go further, make your money effective.Corey: Oh yes.Lynn: Because like it or not, we run on money. We run on money. And so be smart, from everything where you shop to how you spend. That's how we're going to make change.Corey: One last area I want to explore with you is that for a long time you've been working on, effectively, data pipelines and similar things in that space, tied to your consulting work. You are clearly skilled across all of the various cloud providers and even tieing into the expertise side of what you're doing as an angel investor, you've always been a staunch advocate for, I guess we'll call it doing security the right way. And I've always been tangentially related to security throughout the course of my career. And somewhat recently, I launched another day of my newsletter focused on security within AWS, for folks who are not themselves in the security space of what do you need to know. But so much of it comes down to the do the easy thing now, the right way to do it before you wind up having to do a whole bunch of damage control. And you've been advocating for that since before it was trendy to do so. I imagine you're still somewhat passionate about that perspective.Lynn: Well, I always like to say, you know, Werner Vogels doesn't talk anything about tech; he just talks about, “Please use our security.” And I don't blame him. I mean, you know, I joke that I am an AWS Community Hero because I made a bunch of YouTube videos about securing buckets. And that was, like, seven years ago and I just had a financial client, literally in November, and their buckets, you know, was made public because it was easy for the developer. I'm like, “Ugh, can we just do our foundations?”I don't know why it is not seen as a valuable skill. I mean, I've made craploads of money because people come after they have an incident, but you know, I wish we would be better. And I'm worried because as we start to get more and more of our health information in these big repositories—granted, we have some laws; yay, good—but it's just not valued like coding up a new feature with node or something. And why not? I don't understand.So, I make all these educational resources: I make courses, I have GitHub repos, I have videos. You know, just do it. Plus the people who learned security. I mean, we are always in demand. I'm not a security professional, but I always do security kind of like as a courtesy. And people are like, “Oh, you know, you're great. Oh, my friend needs you.” Dah-dah-dah… I mean, you'll be working forever.Corey: It feels like it's aligned with cost in that it is almost a reactive function. You can spend all your time on it, but it's not going to advance the state of your org further toward its stated goals. You've got to do it, but there's also never really any ‘done' there. It's just easier for me on the cost side because I can very easily quantify the return on investment, whereas with security, it's much more nebulous. And, of course, you wind up with the vendor—I'm going to call it what it is, in some cases—nonsense that is in this space, where, “Oh, you're completely doomed, unless you buy their particular product.” You know, walk up or down the aisle at RSA a few times and your shopping cart is full. And great, are you more secure? You're a lot more complex, but does this get you to a better outcome?And it's, I am so continually frustrated by all of these fancy whiz-bang solutions that are sort of going around the easy stuff—not easy, but it's the baseline level of things: Secure your S3 buckets, or—for users themselves—it's use a password manager that has a strong password on it, use it for everything, use MFA for the important things that you need to use, make sure your email is secure, don't click random nonsense. There's a whole separate pile of things. If I can click the wrong link in an email and it destroys my company, maybe it's not me clicking that link in the email that's the root problem here. Maybe there's an entire security model revisitation that's due. But I'm sorry, I will rant like a loon about the dismal state of security these days, if you let me, and you absolutely should not.Lynn: Well, I would just entreat the audience, basic threat modeling is not complicated. It's like cost modeling. It's just a basic of having successful business on the cloud.Corey: [sigh]. I wish the world work differently than it does, and yet here we are. Lynne, I really want to thank you for taking the time to come on the show a second time. If people want to learn more about what you're up to and talk to you about anything we've discussed, what's the best way to find you?Lynn: So, if you can't find me, you're not looking. I have an internet-easy name. But two places that I'm pretty active: Twitter—just my name, @lynnlangit—and go to my GitHub. In particular, I have a learning cloud kind of meta-repository that has over 100 links to mostly free things on every cloud and just use them. Have at it, learn, be a practitioner, use the cloud more effectively.Corey: And we will, of course, put links to that in the [show notes 00:32:25]. Thanks so much for coming back on. I really appreciate it.Lynn: Thanks for having me. It's been fun.Corey: Lynn Langit, CEO of Lynn Langit Consulting, and oh so much more. I'm Cloud Economist Corey Quinn, and this is Screaming in the Cloud. If you've enjoyed this podcast, please leave a five-star review on your podcast platform of choice, whereas if you've hated this podcast, please leave a five-star review on your podcast platform of choice along with an angry comment talking about how security really isn't that important, and right before you submit that comment accidentally type your banking password into the form, too.Corey: If your AWS bill keeps rising and your blood pressure is doing the same, then you need The Duckbill Group. We help companies fix their AWS bill by making it smaller and less horrifying. The Duckbill Group works for you, not AWS. We tailor recommendations to your business and we get to the point. Visit duckbillgroup.com to get started.Announcer: This has been a HumblePod production. Stay humble.

‼ This episode was recorded on Wednesday, February 9, 2022 This particular evening was very, VERY short lived. I did a few rideshares; accepted on but ended up cancelling because it was going the opposite way from where I was destined to go. And then I accepted a ride picking up a girl who, at first, spoke perfect English and then all of a sudden switched up speaking to me with an extremely heavy Spanish accent. Why did she do that?! Ugh. Annoying. ♥Audie Don't forget to check out these episodes from The Why Run?! Podcast: ► Ep. 57 • Storytime: Like I'm Just Out to Get Them • 2/21/22 • The Why Run?! Podcast ► Ep. 56 • Talking You Into Physical Illness ft. B • 2/12/22 • The Why Run?! Podcast + Follow @MsDjHoodie on Twitter & Instagram ♥ Show me some luv → Paypal • @AudreyalKoinva → Venmo • @AudreyalKoinva → Chime • $AudreyalKoinva → Cashapp • $AudreyalKoinva ♥ Check out AudreyalKoinva.com and subscribe monthly to receive stickers, postcards and prints of my artwork + exclusive weekly vlogs (videos). + Tags: #UberDriver #Gigwork #Rideshare --- Send in a voice message: https://anchor.fm/msdjhoodie/message Support this podcast: https://anchor.fm/msdjhoodie/support

02:14 - Ashleigh's Superpower: Ability To See “The Vision” * The Queen's Gambit (https://en.wikipedia.org/wiki/The_Queen%27s_Gambit_(miniseries)) 03:35 - Intentionality: “People First” * Call Me Out: Intention vs Impact * “This Doesn't Make Sense” Log * Emotional Fitness Surveys * “Dare To Lead” Book Club 10:55 - Listen * Digging in to Defensiveness / Uncomfortableness * Little Things Add Up * Building Connections and Relationships 15:10 - Building Trust – Why is vulnerability not professional? * Alleviating Fear * North Star: Being Excellent To Each Other * Self Awareness & Emotional Intelligence * Discernment * Maslow's Hierarchy of Needs (https://en.wikipedia.org/wiki/Maslow%27s_hierarchy_of_needs) 21:02 - Personal Growth and Development * Brené Brown (https://brenebrown.com/) * Glennon Doyle (https://momastery.com/) * Morning Pages (https://juliacameronlive.com/basic-tools/morning-pages/) * The Holistic Psychologist: Future Self Journaling (https://theholisticpsychologist.com/future-self-journaling/) 27:24 - Intersexuality and Identity: How do you show up? * Privilege * Gender * Somatics * Safety * Solidarity 36:37 - Making and Dealing With Mistakes * Taking Feedback * Lead With Gratitude * Ego Checks 40:05 - Employee Resource Groups (ERGs) * Visibility and Understanding * Health and Wellness Benefits * Sacred vs Safe Spaces / Safe vs Brave Spaces * Dan Price 45:52 - Fundraising & Venture Capital (VC) * The House of Who (https://www.houseofwho.com/) Reflections: Mandy: Eating a shame sandwich in order to learn and grow. Chanté: North Star = Being excellent to each other. Ashleigh: Celebrating intersections of identity. Aaron: The “This Doesn't Make Sense” log. This episode was brought to you by @therubyrep (https://twitter.com/therubyrep) of DevReps, LLC (http://www.devreps.com/). To pledge your support and to join our awesome Slack community, visit patreon.com/greaterthancode (https://www.patreon.com/greaterthancode) To make a one-time donation so that we can continue to bring you more content and transcripts like this, please do so at paypal.me/devreps (https://www.paypal.me/devreps). You will also get an invitation to our Slack community this way as well. Transcript: PRE-ROLL: Software is broken, but it can be fixed. Test Double's superpower is improving how the world builds software by building both great software and great teams. And you can help! Test Double is hiring empathetic senior software engineers and DevOps engineers. We work in Ruby, JavaScript, Elixir and a lot more. Test Double trusts developers with autonomy and flexibility at a remote, 100% employee-owned software consulting agency. Looking for more challenges? Enjoy lots of variety while working with the best teams in tech as a developer consultant at Test Double. Find out more and check out remote openings at link.testdouble.com/greater. That's link.testdouble.com/greater. MANDY: Hello, everybody and welcome to Episode 272 of Greater Than Code. My name is Mandy Moore, I use she/her pronouns, and I'm here with our new panelist, Aaron Aldrich. Welcome, Aaron! AARON: Thanks! And hey, I'm Aaron. I use they/them pronouns and I am also here with Chanté Martínez Thurmond. CHANTÉ: Hey, everyone, Chanté here. I use she/her/ella pronouns and I am so glad to introduce our guest today, Ashleigh Wilson. Welcome, Ashleigh. AARON: Thank you for having me! Hello, Ashleigh here and I use she/her pronouns. CHANTÉ: Ashleigh is the Founder and CEO of Auditmate, the world's first elevator and escalator auditing system. After discovering that customers were an afterthought to most companies, Ashleigh left the corporate world and founded Auditmate under a "people first" mentality. Ashleigh knows discrimination first-hand as a queer woman working in the tech industry and she aims to create a space where everyone has permission to be human. What a great bio. ASHLEIGH: Thank you. Thanks for having me. CHANTÉ: It's a pleasure. Ashleigh, the first question we ask our is what is your superpower and how did you acquire it? ASHLEIGH: My superpower is my ability to see the vision and it's a bit of a witchy. I don't know where it comes from, but the best visual representation I've ever seen of it as if anyone has seen The Queen's Gambit and when she can move the chess pieces on the ceiling? When I'm in the zone, and it's often when I'm half sleep, it just connects and I'm like, “Oh, this is how it works,” and I can just see the path forward. I can't force it. [chuckles] I don't get to choose when it happens. It just happens, or it doesn't. But when I get those deep downloads on the vision and the path forward, and then I think the skill that's been learned to couple with that is then how to make a plan to execute it because the vision can be one, but that execution does not work alone. [chuckles] AARON: That's awesome. I like that and I like that you mentioned the skill that gets paired with that. I can relate to a superpower can't exist in a vacuum; it needs some way to be harness and used. [chuckles] ASHLEIGH: Absolutely. CHANTÉ: I love that, too. Aaron, where you're going with that, because what it makes me think about Ashleigh, just reading your bio and kind of getting a preview of some of the things you care about, how have you been intentional about building a people first organization, or a startup in this space and using that superpower and maybe either finding people who compliment you there, or who are distinctly different? But I'd love to hear how you've been intentional about that. ASHLEIGH: Yeah. I think it starts with first of all, when you feel othered in any organization, like coming in and being able to set the culture is like, “Oh, I'm going to do all of these things.” But as Aaron mentioned earlier, it's not in a vacuum and so, I think the intentionality has been, what is the mission? What is the north star? How do we treat each other? And then at every new hire at every new customer acquisition, it then iterates, iterates, iterates, and iterates. You have to be willing to learn, to take feedback, and to eat a shame sandwich every once in a while, when you screw it all up and you have to admit it [chuckles] because it happens every single time. I've been called to the carpet. I think one of the biggest ways that I've been intentional is being communicative about call me out, call me out. I'm never going to know all of the things all the time and I think that my team knows me well enough to know my intentions, but it comes in intentions versus impact conversation. I can only know my intentions unless you tell me how this impacts you. I can't know and so, creating a culture of my team being able to call me out and be like, “Hey, your intention was good. The impact sucked. Let's talk about it.” [chuckles] AARON: What's that like practically to get folks like on that side and able to call you out because I know for – I'm thinking about it and I know I can to jump into any corporate culture, even startup and be like, “Yeah, I feel comfortable calling out my boss on this.” [chuckles] ASHLEIGH: Yeah. I don't think we feel like we have a corporate culture at least yet. AARON: Yeah. ASHLEIGH: But that also took time in creating. So one way that we did it was we have something called that this doesn't make sense log so that people can just document either things in the system, or things in the culture, or things in policies that just are kind of dumb. Like why do we do this this way? This doesn't make sense. This makes my job harder than it should be. The we need to get X done, but you're making us do Y and Z that don't go toward the greater mission. And then also we created an emotional fitness survey for every employee so that each person – and it's left in one place so each person says, “I want to receive praise publicly, or privately,” or “If I need to get feedback, I want to receive it like this,” or these just different questions on how people to be communicated to. I think setting up those conversations as people log in and it's okay to speak up, it's okay to push back, I expect you to push back on me makes people feel more comfortable, but it takes a while. It does. CHANTÉ: I love that. I use something very similar to that for my own consulting business in my firm and it's been something that we really lean into helpful to just make sure that it's transparent and it's a nice reminder as a leader that your answers to questions can change. Giving people permission to say, “You know what, how I'm showing up today is different than how I showed up yesterday, because life.” [chuckles] ASHLEIGH: Totally. CHANTÉ: So I really love that. The other sort of burning thing that I have for you is, because I read that you had been in this business so I'm guessing that you had learned from people and maybe it was a family business. I might have missed that part. I'm curious how doing it your way this time with these sort of principles is different than the way maybe you were mentored to do it, or what you've seen in the past and why that's important. ASHLEIGH: Yeah. I don't know that I had ever seen it modeled before. I was raised in the elevator industry and before that, my stepdad was in the elevator industry and my dad was salesman of any type, door-to-door salesman selling vacuums to cleaners, to cars, to whatever the case may be and I've never fallen in line. I was always the kid in school that was like, “Why do you do it that way? When you can do it this way? Why are we doing this? That doesn't make sense and that doesn't feel good?” And people are like, “Well, we don't really care how you feel,” and I'm like, “But why it doesn't feel good?” Like why do people want to work where it doesn't feel good? This doesn't make sense to me.” That feeling in my tummy has always been so wrong that it's either a hard yes, or a hard no and I'm like, “How do you operate in a hard no all the time?” Why do we expect people to operate in these visceral responses to this? Just watching how teams have responded and how you almost want to beat the individuality out of people to get performance to a certain standard, or something, like that somehow makes it better for everybody to be like that whole homogeny equals happiness saying? It was never true to me and so, I think I always had this if I feel like this, there has to be someone else that feels like this. I cannot be the only one that wants to show up as my true self and talk about feelings in business meetings! I cannot be the only one. This has to exist. I started a Dare to Lead book club at the Elevator office, which [chuckles] I'm sure you can imagine how that went over. Everybody showed up and I was like, “Oh, so y'all want to act like this is okay and that everyone seems okay. But then look at all of these white cis men in my Dare to Lead book club. Huh.” So it just kind of gave me the affirmation that I needed to say, “People do want to feel good. People do want to talk about and this does actually help the bottom line.” CHANTÉ: I personally love it. What I do for my day-to-day is focus on culture and focus on diversity, equity, inclusion accessibility, and organizations, whether it's on teams, products, services, and offerings. I think that people underestimate what it takes to build something that's special, especially there's not a culture budget. There's a budget for recruiting. There's a budget for performance stuff and for growth. But I'm like, “But what is the fascia? What is the stuff that keeps it together?” And it is the culture. I often like to say, as we're thinking about the future of work and building the next iteration of what work should be in decentralized teams working from home, we do need to lean into the sort of the soft skills that are actually aren't that soft, but they're those emotional intelligence stuff. That makes a huge difference. So is there any advice you might have to leaders like you who are like, “Okay, I guess I might read a Dare to Lead book,” or “I might start to prioritize this”? Where can they start, or what are practical things that you've learned along the way in leading your company in this fashion? ASHLEIGH: Listen. Listen is the first one. Listen when you get defensive, because those moments when your team says something to you that seems so small, insignificant, and annoying because you have all of these big things to do and all of the – you're pushing the company forward and there's this little voice that someone was brave enough to say this little thing that you're like, “Ugh.” That defensiveness, that feeling, whatever that small thing is, is probably a big thing, or will become a big thing and being able to own up to whatever it is that's making you defensive, or uncomfortable and truly listening in and digging into what is the root cause of that? Because it's generally, I don't know if you know the saying like something about the wrapper, it's never the wrapper. You get into a fight about the wrapper on the counter, that's never the wrapper. It's not throwing away the wrapper. It's the underlining way of how we are making people feel and for me, it's been about being able to truly dig into those things. The doesn't make sense log came from one of those experiences. My team, we were in these meetings and they would bring up these little things and be like, “Hey Ashleigh, well, what about this?” And I'm like, “It's not the time for that. We're talking about Z. Why are you bringing up A? We're in this super deep meeting about Z and you're talking about A,” and then they were like, “You're not listening to us. You say that you are people first, but you're not hearing us,” which is like a dagger to the heart. It's gutting and I had to sit with it for days because I was like, “I know I'm people first. I know my intention is right. How am I not translating it? How are my actions not matching my intentions?” When I boiled down to it, it was people didn't have an easy way to bring up little things to me and so, those little things would start to get bigger and then they would bring them up in big meetings because my schedule is booked. We don't have water cooler talk. We don't have walking by someone's desk and being like, “Hey, what's happening with blah, blah, blah?” That stuff doesn't exist and so, these little things were starting to get bigger and bigger and bigger and bigger because there wasn't an easy place to just discuss them. So creating one log alleviated so much pain and made people feel heard about, “Hey, this one email has a misspelling and no one's paid attention to it.” Just little stuff. And then the second thing is that we've been starting is more personal time. We started what I call an AuditMate lounge, which is on Fridays and it's just meant to be logging on and just hanging out with each other. It's water cooler time. You can be working, you can be doing other things, but this is not a business meeting. This is not meant to get things done. It's meant to just hang out. AARON: I like that. I just started working at a new company this month and similar to the team I'm on at least, the DevRel has similar like, “Oh, we're just going to hang out for a bit because I'm around,” [chuckles] and whatever. I've really appreciated it because it's something that I feel like when you're in an office, it's easy to lose track of all the time that you spend just being around those people and building those relationships because it's just rolled into, “Oh, I was getting a coffee,” or “Oh, we went to get lunch,” or “Oh, we went to do this,” and “Oh, I walked by a desk and said ‘Hey' for a few minutes.” But especially with COVID with everyone remote and at home, or remote companies, it's so easy to forget about that stuff and forget about building those connections that are more than just, “Hey, we work on this thing together.” It's like, “Oh yeah, also, we're people. We should hang out and talk about what people do,” [chuckles] which is sometimes just nothing. ASHLEIGH: Absolutely and it's how we build trust! AARON: Hmm. Yeah. I think that's a big thing, too. MANDY: What are your favorite ways to build trust? ASHLEIGH: Oh, well, I never really thought about it like that. I'm a Scorpio moon and rising so I like all of the deep things like, “Hi, I'm Ashleigh. Tell me about your trauma.” So I think the biggest way [chuckles] that I like to build trust is just in deep conversation, really getting to know each other, being vulnerable, and being able to just take the mask off. MANDY: Do you think you can do that too much, though with coworkers? Where do you find that balance? Because I struggle with that myself. Like how do you be open and completely vulnerable, but professional at the same time? ASHLEIGH: Why is vulnerability not professional? MANDY: That's a great question. ASHLEIGH: I think that's where – and I don't have an answer to it. It's kind of what I'm rambling. But why is vulnerability pegged with femininity and why is vulnerability loaded into being unprofessional, or too much, or too whatever? I think that the vulnerability that I don't want to expose too much is if it's loaded with fear because feelings aren't facts and I don't want to unload fear onto my team if there's something that I'm nervous about. I feel like it's my responsibility to hold those things and to alleviate some fear. But I think unpacking with my team that we can be vulnerable and that is actually more professional because it does make us more efficient. It does make us more trusting, I guess, would be the proper word there. The personal things that I don't share as far as vulnerability is there's some personal life stuff that I don't share, but not because it's not professional, but because it's sacred more. AARON: I think you mentioned something interesting about fear that gets at an interesting balance. From a leadership perspective, you have some responsibility about the vulnerability that you share and what you're able to be vulnerable with your team that maybe different than you want from an individual contributor on that team. You probably want to hear the fears of your team like, “Tell me what you're worried about so I can either alleviate those, or we can work to be in a good place.” But at the same time, sounds like you have some responsibility that I can't unload that on you because I'm the one who's supposed to be [laughs] taking care of that. How does that play out me besides just that one generic scenario? Are there ways you find that balance difficult to walk, or? ASHLEIGH: Yeah, like fundraising. My team needs to trust that I'm going to pay the bills. I don't want them to be worried about having money for payroll, or that we're going to be set up for our next raise, or that, right? There's some basic survival stuff that can be so linked to trauma of if we don't feel like we're going to have food on our tables for our family, if we don't feel like we're going to have continual pay, if we don't – those sort of things that are just human nature. We can't think and we can't perform because it is my duty to take care of my family and if I can't take care of my family with this company, I need to go do what I need to go do. So that's where it's my responsibility to those fears – especially when you are rational, if I'm having imposter syndrome about raising money as a queer woman and it's irrational because, maybe not irrational but loaded because of statistics, I shouldn't unload that on them, or I need to have someone, a mentor, someone that I can go to because they need to be expressed, but that could get bigger and bigger and bigger when shared with my team. So I really think about our north star is being excellent to each other. When my vulnerability is serving to them is when I share and not just when it's serving to me, because it'll make me feel better to express that I'm scared about funding, but it will not make my team feel better. It will, in fact, make them feel worse. CHANTÉ: What I hear is this dance we have to do as folks who have founded companies, or leaders of those companies to have what I consider again, that emotional intelligence. It's like – [overtalk] ASHLEIGH: Totally. CHANTÉ: Because self-awareness is huge and when you get a chance to – when you know your traps, or the traumas and the triggers that keep you stuck, or actually help to get you to another place, you can notice them in others and then the regulation is really important as well to really build relationships that are trusting and then discern it. It's like timing is everything to be like, you have to be able to read the room. You have to be able to be perceptive, read people's faces, and understand that they may have disassociation. They might be smiling, but they actually might be scared shitless [laughs] as you're like, “Oh, we're raising around.” I love how you how you kind of introduce this thought around Maslow's hierarchies of needs. People want to be able to put food on the table and be able to take care of their responsibilities whether that's a family, or a spouse, significant other, friend, or community and that is why we work. [chuckles] We need the money because we're in this capitalistic system. So I just love how you're doing that and where my mind takes me is how did you have the wisdom to do that? Who has been either an example that you admire, do you have a coach, do you have a community? Where are you learning these awesome things? Because I feel like you're so in touch with this emotional intelligence piece that so many people are missing. ASHLEIGH: Thank you. I appreciate that. I did not used to be, [chuckles] to be quite honest and I learned about emotions getting freshly sober at like 24 from Brené Brown. I had no idea. I had no idea. I quit drinking and remember starting to read one of her books and saying that an emotionally intelligent person knew 30 emotions and I was like, “Wait, there's more than happy and sad? You're telling me there's 30? That I should be able to name 30 and know what they feel like in my body?” CHANTÉ: Right, and according to her new book, she has even more stuff. ASHLEIGH: [laughs] Yeah. CHANTÉ: I think there's like 80 plus. ASHLEIGH: I'm like, “Wait, what?” [laughter] “This is a thing?” And that's when it kind of dawned on me, when people would say to me, “You don't get it. You don't get it,” and I'm like, “I don't get what?” And then I was like, “Oh, I'm not going to be able to know what you're feeling until I know what I'm feeling. Cool, great. I have a lot of work to do.” [chuckles] So that's when I think I started unpacking and learning. I was raised by an alcoholic and then became one and then getting sober at a young age was like, “Oh, this is mine and that's yours and I didn't know that I ended and you started.” So really learning and starting to place those things for me and then just reading a lot, a lot of Eastern spirituality, I read a lot of Buddhism books, a lot of yoga books, a lot of Brené Brown vulnerability, shame, rumbling type books. And then I think it's just kind of been like I'll take this from that and really, it just leads from what feels good and what doesn't. MANDY: Personal growth is essential. I'm in the same boat almost. I, too, am sober and it has changed my life. Over the past 2 years, I have done so much work on myself that sometimes I'm doing too much, but I learned – [overtalk] ASHLEIGH: Totally. That's a thing. [overtalk] MANDY: Brené Brown is one of my heroes, Glennon Doyle, too. ASHLEIGH: I was just going to mention her. Yes, oh my God! MANDY: I love Glennon. Yeah. So personal growth is, I mean, journaling. Every day, I make it a habit and a practice to sit down and just write out my thoughts and my feelings. I highly, highly suggest to anybody who will listen to me to do the same thing. ASHLEIGH: Same. [chuckles] MANDY: Morning Pages are a wonderful thing. If you can do it in the morning, just get everything out of your head. Even the dumbest little thoughts, “dumbest little thoughts.” I mean, there are no dumb thoughts, but just getting all the, I call it taking the trash out. ASHLEIGH: Oh, I like that. MANDY: And just even snippets of any weird dreams, or just little nagging thoughts that are in the back of my head. Getting all those things out is just so essential. ASHLEIGH: Yeah, absolutely. And do you know The Holistic Psychologist? MANDY: I do. ASHLEIGH: Yeah, and her future self-journaling has also been really helpful at times, like sitting down in the morning and saying, “My future self will feel like this and this is how my future self will take care of me today” has also been really powerful along those same lines. CHANTÉ: Mandy, I loved your question earlier when you were like, “How do you know? Some people are not comfortable in doing that.” So I feel like what's also really true about organizations and teams is just you can have somebody who's kind of the sage, or most wise elder on the team who's like, “I've been through this, I've walked this path,” and then there's people who are like, “Huh, vulnerability.” And then the magic of that leader in the room is finding, or recognizing the spectrum of that and being all these things are actually welcomed and everybody's experience matters. So how do you do that for your team? I'm imagining you have people who are newbies on this journey with you, or people who are like, “This is the best.” Maybe they gravitated and wanted to join you because they recognize parts of themselves in you, but how do you manage that part for your team and kind of carry and make room for the full spectrum of folk? ASHLEIGH: Yeah. I think I'm still learning that one. I think we're always learning that one as our teams constantly change and evolve. The emotional fitness survey helps. I definitely call people out and I'm like, “Okay, how does this feel to everyone? Everyone has to talk, I'm waiting and I will for you to talk,” which I know can be jarring for folks that don't want to share in a group. So really making sure to get everyone's input, that everyone gets used to speaking up in front of the group, and that it is just around Robin mentality, but then also developing those one-on-one relationships so people feel kind being like, “Hey, I'd rather share with you my idea after the call,” or whatever the case may be. But I think it's my job to hold space, it's my job to shut up sometimes and pass the mic, and it's my job to push and to pull. So to really, really look at those levers of who's ready for more and who has the potential to and wants to develop that potential. Maybe it's fear, or maybe it's something that's blocking them that I can help them see. And then for other folks they're like, “Hey, I'm good. I'm chilling. I want to be right here. I don't want to be the big boss. I want to be your right-hand human and let me stay where I'm at.” I'm in my lane. Go away.” So I think it's just really listening to folks and then also help to see what may blocking our views. CHANTÉ: I think I shared that the work I do is diversity, equity, and inclusion accessibility stuff and I often lead a lot and facilitate a lot of conversation around helping leaders and their teams recognize their identities, or intersectionality and recognizing social location and how that plays out with power privilege. One of the things we read about you is that you are a member of the LGBTQ+ community, and I'm guessing that that's a very prominent identity for you because you shared it online openly. Thank you. But I know there's other parts to you. So what are the identities that you lead with? We could start with the most obvious and kind of learn more about you from there. ASHLEIGH: Yeah. So I lead with queer always. Queer is through and through who I am. I realize the privilege I have with the way that I present to the world. In most instances, I will always be safe and I think that it's my responsibility as a VC-backed founder to take that space and I don't really own that for me. I have the privilege of being safe and so, let's make this known and let's make room for more folks while I'm here. I can elbow folks out of the way so that we can keep some more space. But the other parts of me. Gender, I don't really know right now, I'm kind of at the point that I think it's really garbage shit right now. So I don't really know. [laughs] I struggle. I've been in the dance with gender for a while and it's like, I feel like I would be taking up too much space to come out as non-binary and I know that non-binary, you don't have to look a certain way. I realize I have a lot of cis presenting privilege and it's not about that for me. I finally have landed on the conclusion that I don't give a crap about gender at all. It's more genderless and even non-binary feels too boxy for me. I don't know, I'm kind of ambiguous on that right now. [chuckles] AARON: Actually, I'm just generally agnostic you. ASHLEIGH: Yeah. I feel that. [laughter] CHANTÉ: Yeah. And I loved your response. I'm really into somatics and noticing bodies because bodies show up in space. [chuckles] ASHLEIGH: Yeah. CHANTÉ: People are triggered by bodies sometimes and recognizing it could be that your race, your ethnicity, it could be your age, or your ability, or where you grew up and accent. Are there any other parts of you that you feel like are prominent, or that you lead with, or maybe don't lead with? I'm curious just to hear more about it. ASHLEIGH: I'm pretty heavily tattooed and I also dress kind of funky in most instances. You can't tell right now, but half my hair is orange and half my hair is red. I'm loud, I'm vocal, and I'm very little, but I'm big in spaces. [laughs] I think that makes me different because most of the spaces that I operate in, I've been in this. Oh, the elevator world, it is 98% white men and I'm joking kind of about the industry, but I'm not going to shrink myself anymore. You will be uncomfortable by me. Don't let the crop top fool you. I am a CEO [chuckles] and I'm not going to change my crop top. Like, sorry. CHANTÉ: Yes. See, this is why I'm asking. I mean, I love it. You just naturally went to like, “Okay.” So those are the things that that's how you're showing up. ASHLEIGH: Mm hm. CHANTÉ: Right, and what's true for the industry and what you're in and you kind of already went there, I think it's dope and I think the context matters because you're like, “Yeah. Am I in a room with other queer people who are leading tech companies, or am I in a predominantly male, cis, able-bodied, privileged, born and educated in United States industry where I'm blending elevator technology,” whatever? So thank you for that. ASHLEIGH: Yeah, absolutely. [chuckles] A lot of times I walk into the room and it's like, either I'm uncomfortable, or they're uncomfortable. So I'm like, “You're going to be uncomfortable today. I'm sorry. I'm going to make you feel things and I'm going to make you recognize your privilege because guess what, we all must be painfully aware of our privilege and if I am in a room all full of white people, all of able-bodied people, all of privileged people in some sense, let's talk about this. Why are we not? Why are we not talking about the humans that are impacted by the work that we're doing? Hello.” AARON: It sounds like that was a big influence for your people-centric company, too. ASHLEIGH: Mm hm. AARON: I don't want to put that experience on you, [chuckles] but – [overtalk] ASHLEIGH: Totally. AARON: I don't want to ask it from a place of naivety and say like, “Oh, did this affect it?” It sounds very obviously your identity and being counterculture to the elevator and escalator world has influenced your company and where you want to go with that and how you want to show up. ASHLEIGH: Absolutely, a 100% being in that space and being different and just being like, “You know what, if I don't own this, I'm going to feel terrible forever and I don't want to because that's great.” It's great and I can walk into the sun in San Francisco and feel fantastic and so, why do I not feel that same confidence level in this boardroom? AARON: Right. ASHLEIGH: You're not going to make me feel small. I'm sorry, you're not. AARON: I think that's a big – I don't know if I'm seeing so much of a shift. It's a big portion of… I don't know I want to go with that, but I really like that. You're not going to make me feel small. I like the idea of showing up and you know what, this is me and just because you are uncomfortable, I'm not going to diminish myself. ASHLEIGH: Absolutely and the reason that I do that is me doing that shows other people that it's safe. At least if I'm in the room, you're safe to be who you are if I'm here. AARON: Mm. ASHLEIGH: And so that's why I put queer on my LinkedIn, that's why I lead with that because I know I'm safe and so, if I have – I feel responsible to it. AARON: I know you mentioned you can show up and be safe and create that safety in that environment. Has that been something you had, or had modeled for you, or is that something you had to go out and create this space where you could be that beacon of safety? ASHLEIGH: I think it's been modeled in my queer community. I don't think it had been modeled in corporate culture. I'm also not lost on how privileged I am to be safe and I'm not the bearer of safety and realize that there's many more intersections that go into that and that I'm here to listen and to learn and I don't know everything. [chuckles] Absolutely not. So it's important to just be really vulnerable about what we don't know and to say, “Hey, I'm going to fuck it up and there's going to be ways that I am not aware of my unconscious bias yet. So please teach me and if you don't have emotional capacity to teach me, I'm not saying that it's your responsibility, but if you can call me out, please do.” CHANTÉ: Yeah. That's a really important thing. I feel like being in solidarity with others who are othered. For me, it's like oh shit, we have Black history month coming up around the corner and I have some friends who are Black and queer, or Black, queer, and disabled and they're just like, “Oh, which one should I lead with first?” And I'm like, “All of them.” You shouldn't have to choose any of them over the other parts of yourself, because they're all valid and they all inform your lived experience in this particular body that you're in. I want people to see the complexity and the wholeness of others and just be like, “That is dope.” I love how you said when people have the capacity to teach you, you invite it, but you're not demanding it because so many times we've – I think we all can speak to this on this call. We're all in community. But it is, some of us have more resource and more ability to show up for each other at other points in time because we're going through something [chuckles] that the whole world doesn't know. It is likely because of our identity, our social location, our privilege, and the unique things we're kind of going through as we navigate life. It's really important to just constantly communicate that as well, that you're inviting this kind of calling out, or calling in and that people don't have to educate you. But I hear the willingness to want to show up and learn, which I think is literally a key. [laughs] The willingness. Yeah, awesome. AARON: It's at least half of the battle, right? CHANTÉ: Yes. ASHLEIGH: Totally. My friends and I were having a discussion about community here and it was like, you cannot have a community space that never once is going to screw up, or have an issue, or be called out, or called in. How you move through that, or what, I don't know. If you continue to be a safe space, it's not in not getting called out. It's how you deal with it. It's how you take that feedback from someone, or the community group and say, “One, thank you for telling me, let's be grateful that someone had the bravery to even speak up and two, then you get to say, is this mine, or not?” Don't lead with the buts, or the whys I did it, or the here's my intent. Don't lead with that. Lead with gratitude that someone felt safe enough to come forward. Someone felt that you were worth getting their feedback, because guess what, if they didn't believe that you would change, they probably wouldn't even tell you. They would just leave. They would just deem the space as unsafe and go. So that in itself, how you take feedback will determine how your community and your company thrives, both. MANDY: And then apologize and move on. ASHLEIGH: Bingo. Yes. AARON: And make material changes to show that you've learned. [laughter] ASHLEIGH: Oh, yeah. [laughter] ASHLEIGH: Good pointer. And then act also important. But [laughs] yes. AARON: That lesson of taking feedback, I think and understanding the value of that is so huge and it's a hard lesson. This is probably the hardest lesson I'm dealing with my kids for instance, is like, “Hey, that first call out, I wasn't really upset with you, but then when you acted super defensive and flipped out, that's the problem that I have. That's not okay.” ASHLEIGH: Totally. AARON: The initial action was just like, “Hey, we need to change this. Let's alter our behavior. Move on. But all the other stuff, that was not good that. That, we need to work on.” ASHLEIGH: Absolutely. AARON: Yeah. It's a tough lesson. I think it requires an ego check. Like decentering and recognizing oh, this call, it's not about me. [laughs] ASHLEIGH: Absolutely. Yes, and it's not easy work. You've got to eat it. It's not fun. AARON: Right. MANDY: Yeah. I've had to learn not everything's about me. [laughter] MID-ROLL: And now a quick word from our sponsor. I hear people say the VPNs have a reputation for slowing down your internet speed, but not with NordVPN, because it's the fastest VPN in the world. I don't have to sacrifice internet speed for better security. With NordVPN, my internet traffic is routed through a secure encrypted tunnel, which protects my data and privacy. I can also have it on up to six devices like my laptop, phone, TV, iPad—all my devices are protected. Grab your exclusive NordVPN deal by going to nordvpn.com/gtc, or use the code GTC to get a huge discount on your NordVPN plan plus one additional month for free. Plus, a bonus gift! It's completely risk-free with Nord's 30-day money back guarantee. AARON: A thing I wanted to get back to a little bit. I loved when Chanté was talking about folks who said that were Black, queer, and disabled and this multiple identities and leading with all of them. I think especially industry wise, or big corp wise anyway, we create these interest groups of this is the Black community interest group. This is the pride interest group. This is the disabled workers' interest group. I feel like it misses so much of the you of intersectionality. I'm wondering if you've seen that both, in your space and your identity and being able to create that space of vulnerability yourself, if you've noticed a benefit of that. ASHLEIGH: No, I think that's interesting and I like the note here that employee resources groups can be really great and really crappy. I totally agree. AARON: Yeah. ASHLEIGH: Often, it feels to me that the goal is visibility and understanding at the end of the day. We get great visibility in employee resource groups. We feel seen with people that are like us in some way, or another. But really, we want to have this intersectionality so how do we get both? My gosh. How do we have the representation, which is so important? How do we have the understanding, which is so important? And then how do we move past the feelings of not feeling seen so that we can see others? Because if we don't think it's possible to be seen, we're probably not able to see others and we need an on-staff therapist, really. Let's just be honest. [laughter] CHANTÉ: Yes. ASHLEIGH: Put them on payroll. [laughter] CHANTÉ: I've got to get that idea. Now you're talking my language. I'm telling you, I'm telling you if I had it my way, all organizations would offer that as their employee health and wellness benefit is to have somebody who's like on-site and depending on the ratio of people, if you have too many, you got to get several organizational psychologists and folks who are well-versed in trauma. ASHLEIGH: Totally. Yeah. CHANTÉ: But it makes me think of the conversation I often talk about, which is the difference between sacred space and safe space. AARON: Ooh. CHANTÉ: The sacred space is like those ERGs. It's like, yeah, we're going to have our unique identities where we can show up, talk to each other, see each other, and be like, “Oh my God, that really sucked,” or “That was really good. Good job in there.” The places where we're like – the safe spaces are harder because we have to make sure that everyone, when we say psychological safety, they're like, “Yes, I know what that means,” and that people are committed to doing some kind of work, which is why I'm like, “Organizations need to focus more on culture.” ASHLEIGH: Yeah. CHANTÉ: And this is where the like magic can happen, or where it can all fall apart. The sacred versus space is so huge. So, so huge because we can't have enough of people like you, Ashleigh. The world needs so many CEOs like you, then the world would be better and different and I wouldn't mind going to corporate work. [chuckles] But the reality is that you are few and far between. It's based on your identities, based on your lived experience, which is why it is so important to talk about it and to spend time with this episode getting into it. ASHLEIGH: Yeah. No, I completely agree. I also really like the idea of what's the difference between a safe space and a brave space, which plays into that a bit, too. I think in order to be safe, we have to be brave and it's kind of like what comes first vulnerability, or the courage? All the nuance in that, that ends up being this mushy gushy and I completely agree, we need it all and it's possible and I'm a firm believer in it's possible. The people that keep telling me that people first companies can't be profitable. I think it's bullshit. I think it's absolute bullshit. When we focus on people, the profits will come. If we're all safe, if we all believe in the mission, if we're all there because we want to be there, guess what? It will happen in and it will continue to happen and the foundation will be more sturdy and we'll be able to pivot easier because guess what? We move as a pack and I don't know, I guess, I'm just here to prove them all wrong. CHANTÉ: I feel like I love that and I'm also really sad that we have to work really hard to prove that people matter over productivity, [chuckles] that people matter over profits. ASHLEIGH: Yeah. CHANTÉ: My favorite, well, one of my favorite people to follow is Dan Price. He's the CEO of Gravity Payments and he's the guy who went viral when he basically gave up parts of his salary and paid everyone a livable wage. He tweets every day and of brings attention to this. It's just like you're right, Ashleigh that people first companies are rare and I can't believe that that's still happening in 2022, but the ones who are, stick out. There are definitely folks who people fall in line to submit their resume and want to work for you and you have no issue with hiring great talent and probably keeping it. It's the organizations and corporations that are literally extracting people's best parts of themselves in hope of getting a profit for their shareholders. ASHLEIGH: That just sounds so icky, doesn't it? [chuckles] CHANTÉ: Yeah. Yeah. It does. I haven't looked to see who your community is in terms of being venture backed, but when you went out, fundraised, started your company, and you said you were going to be people first, what were the reactions? Did it take you many tries to find folks to fill your cap table who believed in that, too? ASHLEIGH: So our first funding round, it was mostly retired elevator people that want to see the industry turn around, that believe in the industry and feel really crummy about where it's at now and how lost it is. Our entire first round was completely private and then after that, the next round was mostly those people coming in again. I wanted to go non-VC for as long as possible because I know I'm niche, I know I'm different, and if you don't get the vision, I don't want to waste my time trying to explain to you what we're doing, because we're too different. So if you're not with me, I don't have the time to sit here and convince you. The industry is a $100 plus billion a year industry and if you don't see that and don't get it, then bye. But then we ended up taking on some VC funding this round because I got tagged in a LinkedIn post that someone was like, “Where are all the PropTech women?” 98% of the people pitching this VC were all men. We ended up getting a meeting because I've always turned down any VC meeting. We just hit it off and then we went out to lunch and we were very similar. He was a founder himself and so, he understood what I was doing. I was like, “Hey, I'm not building this company to report to venture capitalists and so, if you're someone that expects me to work for you and not to work for my employees, we're not the right fit.” He was like, “No, that's what I expect you to do. Call me if you need me. Otherwise, I'm out of your hair.” I was like, “Great, okay! We can do this.” And then we ended up getting a couple more folks. I think it was really because I got on the phone with them and I was like, “I'm not taking your money,” and they were like, “Excuse me?” I was like, “I'm not taking your money. My round is full. I'll talk to you only because Zane wants me to talk to you. Otherwise, I don't have a conversation with you,” and they were like, “Please extend your round,” and I was like, “Okay, I guess.” So how could this happen? CHANTÉ: Wow, that's – [overtalk] ASHLEIGH: Is it because I'm being a jerk? [laughs] CHANTÉ: No, it sounds like it happened because you were more aware of who you were and you were sticking to your values and principles, actually. That's what it sounds like from my seat. So speaking of that, are your values of the company reflections of your personal values, or are they collective –? [overtalk] ASHLEIGH: Oh, a 100%. CHANTÉ: To the folks who work with you? ASHLEIGH: Yeah, I think both and we found each other. But building out the values and the mission and the vision was something that I spent a lot of money doing with The House of Who, who is a great organization and the East Bay. They're a branding company and they really helped me articulate the vision, the values, and the mission in a really eloquent way right in the beginning. I think everyone probably looked at me like I was bonkers for spending money on branding before I had any sort of software, or [chuckles] any sort of anything. But for me, it was so important that we had a way to articulate this to the team in an eloquent way that got people on board and really said, “This is who we are and this is who we're going to be.” How do we know what we do before we know who we are? It's not possible. So at that point, the people that align and that gravitate to what our values and vision are, I think we just kind of find each other. MANDY: That's awesome. I loved hearing a little bit about your journey, especially when it comes to venture capital, because I think lot of us just get a weird icky feeling from even hearing about venture capital. So it's always good to hear the good stories. ASHLEIGH: Yeah. MANDY: But since we are coming up on the hour, I was hoping that we could go into reflections and this is where we talk about something that stood out to us, maybe a call-to-action for ourselves, or the listeners. I can start. There was something at the beginning of the show that you said, that I had to write down, was just eating a shame sandwich once in a while. I'm not going to try to say that ten times fast. [laughter] You invited people to call you out and I love that. That's something I always try to do and model. It's the best way to learn, when invited, saying, “If we're talking, I'm going to ask you this. If I'm wrong, can you please let me know? Because I want to learn. I want to grow.” I think that's something that's super important and something that I try to do, especially with children that I'm around. My child, other children that are friends with her, just be like, “I was wrong. I was wrong. I'm sorry and it's just such a good thing to do, just to be humble in that ability to say I was wrong and I learned.” Thank you for that. CHANTÉ: The thing I really love that you said, and I haven't really heard this often, is you said your north star is being excellent to each other and I feel like most people have a north star of growing, or making an X number of profit, or whatever. I just love that. It is because it really does, I think eliminate your value of being people first and demonstrates that that's where you're going to put your time and money. Not only if I had the money, I'd be like, “Okay, Ashleigh, when you're having your next route, I want to invest in you.” But I feel like leading with that and saying that often tells people who might be interested in a job what you're about, tells your clients what you're about, and obviously, the communities in what you're serving. I just love that. So thank you for sharing it. ASHLEIGH: Yeah, absolutely. Chanté, my favorite part of today was you talking about the intersections and celebrating the intersections of identity and I've had so many conversations with friends about the different lanes into the intersection, but I really like that you focused on the intersection. So that intersection as a whole was very cool to me. AARON: I think one of the things I'm going to take with me was your this doesn't make sense log. I love this concept. This speaks to me on so many different levels. One is the way to raise all these little things that get missed without having to work up all of the energy to try and give someone feedback in a one-on-one meeting, or whatever else. But also, as someone who deals with ADHD and from an engineering mindset, just this place to be like, “Hey, I ran across this and it makes no sense. Can we revisit this?” Because the answer might be, “Oh, here's this explanation for why we do it that way,” and you're like, “Oh, now it makes sense to me,” or it might be like, “You're right. Let's figure out a different way to do that.” I just love that there's just this running place that anyone can just dump these thoughts as they run across them is really cool. MANDY: Awesome. Well, Chanté, Aaron, Ashleigh, it's been such a great conversation and thank you all so much for showing up and being vulnerable and having this discussion. It's been great. So with that, I just want to thank you again, thank the audience, and we'll see next week. Special Guest: Ashleigh Wilson.

Are you dating after divorce? Tough. Are you dating after divorce WITH the baggage from your previous relationship? Ugh. Don't even get me started. My guest today is Author, Speaker, and Transformation Coach Tonya Carter who talks about reinventing yourself after divorce, what she does, and how she helps her clients with her strategies so they can manage their relationships in life, work, and business. Tonya is a certified speaker, transformation coach, author, and podcast host who works with women to discover their voice, build themselves from the inside out, become leaders in their homes, and find their life's purpose. Being a single mother of two, Tonya realized that she allowed her circumstances to hold her from discovering her true life's purpose. Experiencing divorce, five job losses in four years, unhealthy relationships, financial hardships, health setbacks, and balancing single motherhood took its toll mentally, emotionally, financially & physically. She decided to stop being the victim and became the victor of her life, and she wants the same for other women.  As a certified consultant, Tonya works with women entrepreneurs to discover their inner genius, create an environment for others on their team to develop a win/win, and use the best communication tactics that manage others to form successful team building and performance. Tonya has written a book titled “Divorce Your Story: A Woman's Guide to Heal & Thrive after Divorce” and also facilitates a 12-week T.H.R.I.V.E Program that walks women through the process of uncoupling by providing support, advice, resources, and tools that will help mitigate interruptions in their business, work performance, and household obligations. And has a podcast called The Reinvent U Podcast, which focuses on mindset, emotions, finances, health, faith, and building meaningful relationships to become the best version of themselves in their personal & professional lives.  Thank you, Tonya, for joining me again on Doing Relationships Right!    Connect with Tonya at: Website: https://www.tonyacarter.com/ LinkedIn: https://www.linkedin.com/in/mstonyacarter/ FB: https://www.facebook.com/mstonyaspeaks/ IG: https://www.instagram.com/mstonyaspeaks/ YT: https://www.youtube.com/channel/UCyWknAeYLmdbWdMfGcP0tiA?view_as=subscriber   Grab a copy of Divorce Your Story: https://www.divorceyourstorybook.com/   Listen to her podcast, The Reinvent U Podcast: https://podcasts.apple.com/us/podcast/the-reinvent-u-podcast/id1493902249   Get my FREE NON-negotiables collab with my sponsor SOBERLINK by clicking HERE!    Here's the link to my Online Dating Course: DOING DATING RIGHT!      Join the Facebook Group and leave a question for a future episode: https://www.facebook.com/groups/doingdivorcerightpodcast     Where to find me: Website: https://jenniferhurvitz.com/ Facebook: https://www.facebook.com/jenniferhurvitzbiz/ Instagram: https://www.instagram.com/doingrelationshipsright/ Youtube: CLICK HERE ♥️ TikTok: CLICK HERE! Pinterest: click here!     You can connect with my editor, Next Level Podcast Solutions, at https://nextleveluniverse.com/     Get a copy of Jen's book, "Woulda, Coulda, Shoulda: A Divorce Coach's Guide to Staying Married" here.   Show notes: [2:24] More about Tonya and her story [5:08] How he helps her clients [8:59] You cannot date without getting divorced from your story [12:52] Check out this excellent parenting tool: Soberlink (https://www.soberlink.com/partners/drr) [13:52] Does she think that men are too quick to move into new relationships? [19:00] Mrs. to Me Summit on March 25 - 27, 2022 [19:37] Her book, podcast, and mini-course [24:07] Outro

(image source: https://bit.ly/3HcF8iE) Host Matthew Donald and guest co-host Laura Owsley discuss Platybelodon, a scoop-tusked elephant relative that proves duckbilled creatures aren't limited to hadrosaurs and platypi… or ducks. From the Miocene epoch, this 6-foot-tall proboscid stripped bark off trees like a giant beaver, and may have also scooped water plants from rivers like a hippo, but that theory is outdated currently. Ugh, why must science change?! I hate change! I want things to stay the same forever! Now if you'll excuse me, I'm off to buy the latest smartphone and download the newest fad on the play store. Want to further support the show? Sign up to our Patreon for exclusive bonus content at Patreon.com/MatthewDonald. Also, you can purchase Matthew Donald's dinosaur book "Megazoic" on Amazon by clicking here, its sequel "Megazoic: The Primeval Power" by clicking here, its third installment "Megazoic: The Hunted Ones" by clicking here, or its final installment "Megazoic: An Era's End" by clicking here. 

I hope you are having more fun than I am this week. My back is out again because I was walking down the steps and had one little slip. Ugh. So while I recover, enjoy our discussion with Erik Butterworth about “One Little Slip”  Original  Appearance  “Chicken Little” Extra  One Little Slip at the Ships and Dip 4 (and youRead More

UGH, we finally get to see a little more of the "teachings" this week and they are GUH-ROSS! Are you even ready!?

You're looking for your ideal diet... but you end up overwhelmed and stuck since what's "healthy" is always changing. Ugh! What would it take to find the BEST diet for YOU? Learn the simple and insightful questions you can ask yourself to reveal the food plan that'll help you reach your weight loss goals. Get your show notes: https://gracefilledplate.com/what-is-the-best-diet-for-me/ Links mentioned: 15 Tips from the Bible to Overcome Overeating Freebie For a deep dive, check out Grace Filled Plate Platinum and be sure to get on the waiting list You may also enjoy: Episode 21: 6 Reasons NOT to Use the Bible While Dieting Episode 29: How to Be TRULY, Biblically Healthy Get a FREEBIE: Get your FREE Faith [is greater than] Food Email Course

Jacques talks how AST is a good person and a good friend as he suggests the BBC show “The IT Crowd” and his 1981 Minnesota State Hockey playoff game on YouTube … and how Joe is a bad person who suggest he watch the (also a BBC show) Derek, because he knows it will make Jacques relentlessly cry … Niagara Falls Frankie!   Both agree SB halftime show was AMAZING … the Rams SB parade … um …  Not so much.   Queen Elizabeth AND Beiber got Covid … just in time to stop testing and wearing masks at Jacques kid's school.  UGH.    Putin tries to return the USSR to its glory days (isn't invading counties really so last mid-century?)   AGAIN … USA/Canadian woman's hockey proves to be best rivalry in all of sports.   Jacques insist Biff watch Peacemaker on HBO Max.  Is it a great show and one of Jacques favorites?  It's good … but the relentlessly playing and talking about 80s hair metal is right up Biff's ally!   CP on Twitter: @CarnivalPodcast       Biff on Twitter is @BiffPlaysHockey Joe on Twitter is: @Optigrabber Jacques on Twitter is @TheJacques4   Opening Song: Gomer by Dan Cray and Beyond Id   Closing Song: Rinse and Spit by Dan Cray and Beyond Id  

Happy Saturday! Alex spends the bulk of the show this week discussing the Kamila Valieva doping scandal, and how the phenom teenage Russian skater was failed by the adults around her. Alex also praises the commentary work of Johnny Weir, who should win an Emmy already! Also, the Aaron Rodgers gay jokes are starting up again. Ugh. Alex is off next week. The Sports Kiki will be back in two weeks! Learn more about your ad choices. Visit podcastchoices.com/adchoices

What's it like to try to build a strong, secure coaching business when you've never had your own business before? If it's anything like mine, there is drama nearly every day. It looks a lot like this: Monday: What am I supposed to be doing this week? Tuesday: Now, how do I do that?Wednesday: That was just a fluke. I'll never be able to do that again. Thursday: Hey, maybe this is actually working. Friday: Nope, I was wrong -- it's DEFINITELY not working. Ugh!!!Saturday: I think I'll just stay in bed. I deserve it.Sunday: OMG, why didn't I get anything done yesterday? What is WRONG with meMonday: What am I supposed to be doing this week?If that sounds like your business, you're in luck. Here's a glimpse at a drama-free business. 

By request: What's your guys' thoughts on visible tattoos and service techs?The guys invite Chad back to talk about service workers and face tattoos. The conversation is extended out into the IG universe to hear from some friends in different trades as well. In the end we learn that Andy's nana needs some welding done at her house and Chad is way into Starter hats. Ugh, its a long one lol.

Bosses, in 2022 we are failing fast + furiously. Who's in? In this Bonus Modern Mindset Episode, Anne is joined by special guest Erikka J. They discuss blending tech + creative passions, pursuing multiple careers simultaneously, and most importantly, why it is oh so important to fail so that you can succeed! Transcript >> It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza. Anne: Hey everyone. Welcome to the VO BOSS podcast and the Modern Mindset series. I'm your host, Anne Ganguzza, and today I am so excited to bring you special guest Erikka J. Erikka is a multi-talented singer, songwriter, and award-winning voice actor. She's voiced for brands such as Google, Facebook, Microsoft, Apple, IBM, Discover and -- keep going -- Black Lives Matter and many, many more. As a natural born hustler, I love that, she is also a tech girl, just like me, a project and product management professional with 15 years' experience in multiple sectors, including government, e-commerce, software development, and automotive. Erikka J, it is a pleasure to have you, and thank you so much for joining me today. Erikka: Likewise, thank you, Anne, for having me and, uh, hey to the BOSSes out there. Anne: Yeah, I love it. So I went to your website, which by the way is beautifully branded. So guys, BOSSes out there, you want to have a look at something that's really beautifully branded, I love the website. I was drawn to the music tab there. So I want to say that I love your concept of delivering meaningful, honest, and relatable lyrics, which you call jewels, right, to your fans. Erikka: Yes. Anne: I imagine that this also applies to your philosophy in, in your VO being real and meaningful and honest, and I'm sure that that contributes in a multitude of ways to your success. But let's talk -- we'll do, we'll talk about that in a minute -- but let's talk about how did your singing career help prepare you for your careers thereafter in business as well as voiceover? Erikka: Oh man, I got, uh, I almost want to say I got lucky, but I worked for it too. Um, so I, um, you know, went to college, and even though I was singer and doing all of that, and people were, you know, telling me I should pursue that, I went the whole corporate route. But music chased me; it wouldn't let me stay away from it. So I got the business education from getting my MBA and from working in state government, federal government, and now a corporate job in automotive. But in music, I learned how to record myself out of necessity. So I mean, you know, I didn't have the big label behind me, but I had some ideas and I had to record my own songs that I've written. So started on audacity, started on a Scarlet -- Anne: Wow, all right. Erikka: Scarlet bundle, like with that mic, like that's where I started, in the closet. Yeah, recording myself in music, I learned the tech side of it and how to listen and get very detailed with my ear. And I eventually, I made my way over to voiceover and those skills came in really handy. Anne: Wow. Well, I have to say as a young artist back then, that's an ambitious goal, right, to be a singer. Talk to me a little bit about -- I know you said you didn't have a big label, but it's not like you didn't try to pursue a career path that way I would imagine. Erikka: Yeah. Yeah, for sure. I did the indie route. Anne: Okay. Erikka: So I mean, at that time, you know, early 2010s around ish -- Anne: Oh okay, gotcha. Erikka: -- so Internet was around and all the distributions. I could put myself on iTunes and all the platforms. So yeah, I never really did pursue the label route. I wanted to sort of be the captain of my own destiny, you know? Anne: Gotcha. Erikka: Yeah. And I had friends that were engineers, so they kind of helped teach me stuff and get me set up with templates. So, um, I did pursue it on my own, but I didn't pursue the getting signed sort of traditional route. Anne: Um, now is that something that you're still doing, or you're still considering, or trying to pursue all different routes? Erikka: I would say I'm probably like on hiatus. Anne: Gotcha. Erikka: Music broke my heart a few times. I love it, definitely my first love. But boy, when I found voiceover and was able to pull all these different things that I love into one big bucket, like I've really just fell hard. Anne: So what was it that made you go into business? I mean, you have your MBA. So when you're the starving artist, right, everybody says go to college. And that was, that was my mother, go to college and get a real job. But interestingly enough, what made you pursue your master's in business? Erikka: Yeah, so I kind of always say I lived my life in reverse almost, like in my 20's, I was super serious and straight and you know, yeah, singing's great. But I have to go get a real job. Anne: Right, right. Erikka: I went to college and you know, and it worked out well for me, but again, music just kept pulling me back, the creative that, you know, muscle, it just doesn't, it doesn't die. Anne: Oh, I agree. Erikka: It won't let you move away from it. So I just decided to do both -- Anne: Love it. Erikka: -- and it was crazy. It still is crazy. And I preach that all the time. Like I still have a full-time corporate job at this moment in tech and full-time voiceover, full-time I do both. Anne: Girl after my own heart. I tell ya, it's something special. Right? You have the tech gene and the creative gene. And it's so interesting to have both. It sounds like you love both. And you're passionate about both. Erikka: I do, I do. I mean, and how I got to voiceover was I was doing gigs on the weekend with a corporate band. So my kids were young at the time, and I was writing my own music and doing all that, my own shows, and working for the federal government, for Department of Defense at the time. Anne: Wow. Erikka: So seven days a week, I'm working every day, a little kids, single mom too. Anne: Wow. Erikka: So I was away a lot and you know, I've made time for them, but I was trying to find ways to spend more time with them. And somebody had mentioned voiceover and I'm like, what's that? Like, I didn't even know that people get paid for the stuff I hear on TV every day. And then I just, you know, did the Google hustle, man, you know, and figured it out online, and here we are five and a half years later. It's going pretty well. Anne: Wow. And here you are. That's amazing. Let's talk a little bit about tech -- Erikka: Yes. Anne: -- especially about, I guess, agile practices, which I believe you specialize in, correct? Erikka: Yeah. Yeah. Anne: So I know that I've done an e-learning module on agile practices. I don't know if I understood them completely, but tell me a little bit about first of all, what are agile practices and what can we learn from them in our voiceover career? How do we relate those? Erikka: Yeah, yeah. So agile is like a mindset. It's an approach to software development is how it was born. And I believe it's actually the 20-year anniversary this year or last year it was. It was in 2001 that I think maybe like 17 different software developers got together. Waterfall was sort of their prevailing software development method, which to shorten it is basically just what I used to do, where you write a requirements document. I would write documents that are 60 pages long. You turn that over to your software engineers. You know, we kind of discuss it, go back and forth, make sure everybody understands, and you could be building something for months and then deliver it. So these guys got together and came up with this manifesto of 12 different elements that really focused on the customer, on delivering value over documentation, on making sure that it was an iterative process. Anne: Sure. Erikka: Because what can happen is if you're developing something, and you take six months to get it out, what I wanted six months ago is no longer a value to me. Anne: Yeah. Well, there's nothing worse than having a piece of software, and there's a bug in it. Erikka: Yeah. Anne: And then you have to wait like forever to get that resolved. Right? I assume that that's part of where this all came from. Erikka: Yeah. Not even a bug. It could mean that they were coding it to spec, but the spec is now changed. Um, you've gotten all the way down the road. Sometimes, you know, these are 18 months projects. Anne: Right, right. Erikka: And you've wasted money, time and value now. So this agile approach, and what I wanted to talk about today is one of the, it's not really one of the values that's in the manifesto, but one of the guiding principles is to fail fast and often. The goal is to be iterative and not let that fear of failure keep you from iterating and trying new things and being creative, and then using that process of failure to inspect and adapt. Go back and look at how you failed, what you could do better next time and look at it as a true learning process and a path to success. Anne: Wow. Well, that's it. We can go home now because that was, that was such a beauty. That was so valuable, what you just said in that short amount of time. I completely agree. I mean, there's so much learning to be had from failing. Erikka: Yeah, absolutely. There's such a stigma and there's such shame with failure, but you can take that failure, and nobody learns from winning, right? Like -- Anne: True. Erikka: -- you learn from, from when you lose. Anne: Isn't that that's so true. And I think that just happens all the time, really, in an industry where we audition to win jobs -- Erikka: Yes, yes. Anne: -- and we are constantly facing rejection or sometimes we hear nothing at all. So we don't know why we failed or how we failed. Erikka: Oh man. Yeah. As creators, as voiceover talent, as entrepreneurs in general, like there's so much wider, and agile was born from software development, but it really can be applied to so many different areas of life, of business, and just learning how to take that failure and be resilient and, you know, exercise your grit. I just saw the Ted Talk on Angela Duckworth. I don't know if you've heard of her, and she referenced the growth mindset, and you know, how grit is really that willingness to fail and to be wrong so that we can learn from it. And man, if we don't face it every day with auditions -- Anne: Right, that's just the first step. Erikka: -- I don't know what is. Anne: And I love how you expanded it out to be not just the performance aspect of our industry, but also just the entrepreneur mindset. I mean, yeah. I can't tell you after so many years of being in this industry and how many times I've failed, and I liked the whole iterative process of fail fast -- Erikka: Yeah. Anne: -- because I've always thought of it as well. I just kind of changed direction. Right? I never in my brain, I don't say I've failed. I say, well, I need to just change direction. Erikka: Exactly. Anne: And so that way I wouldn't have that stigma that you're talking about of shame and like, oh my God, I failed. I always said, well, I don't think of it as failure. I think of it as just changing direction, which actually seems to follow the agile mindset as well. Erikka: Absolutely it does. Anne: Yeah. Yeah. So how have you learned from that in your voiceover career? Because now how long have you been doing voiceover? Erikka: Yeah, voiceover. I started in September of 2016. Anne: Okay, yup. Erikka: So this will be my sixth year coming up. How have I learned? My goodness. So even when I was doing music, when I was singing and doing all of that, I've did approach it as a business. So I've actually had my LLC since 2015. Anne: Okay. Erikka: So I always approach that as investing in myself and looking for an ROI and trying to make the business money that I was making fund the expenses that I had for the business. It wasn't like that for a long time. I was putting in personal money. Anne: Right? Ugh. Erikka: I had business debts and honestly just in the past year, I'm going to be really vulnerable and transparent right now, I paid off $50,000 of business debt. That was a failure. Anne: But that means so much to me that you were vulnerable like that. And you were able to say that because that's going to really help so many BOSSes out there that look, I remember, and my vulnerability is my first year full-time in voiceover, I made like $12,000 for the year. Erikka: Same, same. Anne: Like it was not -- it was just -- people are like, oh my God, I'm making six figures or whatever. No, my first year, and I worked my tush off that first year. Erikka: Yes. Anne: I've known to be a workhorse myself. I feel like we're soul sisters in that area. Erikka: Yeah. Anne: And questioning in the beginning, like, oh my gosh, am I going in the right direction? I remember sobbing one day; everything just came down on me. And I'm like, I don't even know if this is where I should be. Yeah. And I had given up. Now see, for me, I had given up my career in tech. I was teacher tech. So it was kind of the same thing, kind of that technology and creative in the same area. I finally said to my husband, well, let's move to California, and I'm going to quit my cushy corporate educational, secure tech job and just going to do full-time voiceover. And that was just a leap of faith. I mean, thankfully I had put into motion, we had a plan. I mean, I had that financial cushion that allows you to do it, but I did it in 2008, which was the worst year to like -- Erikka: Oh God, yeah, '08. Anne: -- if you're in tech, you know that if you are out of tech for a couple of months, that's it, you're old, you're dead wood. That's like -- Erikka: Yeah, yeah. Anne: You've lost any kind of -- Erikka: You will not get up to speed. Anne: No. I said, oh God, I just need to rest. Give me like three months. I gave it three months, and then nobody would talk to me. It was 2008. And it was like, wow, you cannot stop in tech because otherwise you just, oh, you're not up to speed. And you know, I couldn't even get interviews. And I was like, okay. So I got to make this voiceover thing work and worked my butt off. And I liked that you said it's years. It's not like an overnight, like getting your ROI is just, you have to have, I think the wherewithal and the grit to kind of just survive that and just keep trying things, failing fast, right. And trying something else. Erikka: And that was the failure is that, you know, I, I knew that I was going to need, you know, different classes to take. And you know, a lot of that was music as well. Like, you know, the, the video that you and I were chatting about before, that costs money. Anne: Yes. Beautiful video. Erikka: You know? Thank you. Thank you. Anne: Yeah. BOSSes, just go to Erikka's page. She's got some really awesome videos, and you have a beautiful voice. So. Erikka: Thank you. Thank you. I mean, quality was really important to me. So, you know, I mean, you'll see it before I paid for it. Anne: So I told my husband, come over here and look at, look how beautifully shot this video is, let alone how awesome the whole performance and the storyline. And I feel like when I watched you singing, like I can see so many parallels between singing, performing, and also voiceover. Because again, if you're all about being meaningful and relatable, and I think authentic, I could see that in the video, in your performance. And I'm like, wow, you translate that into a voiceover performance. And bam, like, that's the magic. That's the magic. Erikka: That was for me because, you know, aspect of music that I always loved the most was that I was able to channel my emotions, not just through the words, but like how, the way that I was singing. And I had no clue how helpful that was, that I had already honed that skill, and that, that was a strength of mine to bring that to voiceover gave me a leg up, you know? Anne: Oh my goodness, yeah. Erikka: Oh my goodness. It was great. I mean, not just the failures in music, I wanted to just, 'cause we're talking about failure too, in voiceover, you mentioned that you had left tech and kind of given up and quit on it. And I did just about walk away from voiceover. Same thing. I was, you know, four years in. I think the best, the most I had made was like $25,000 in a year. And I'm like, you know, I can't keep doing this and I have to shout out Mr. Zellman my guy, my man Cliff -- Anne: Oh yeah.   Erikka: Because -- Anne: Who doesn't love Cliff Zellman? Erikka: I love him so much. Any voiceover that somebody got from me after August of 2019 is because of Cliff, because I was going to quit. Anne: Yeah. You want to talk about passion in what somebody does? Cliff is so passionate. Honestly, he's so passionate at what he does and he's so genuine and so authentic, wonderful, wonderful person to work with, if you ever get the chance, highly recommended. Yeah. And I can see him. He's like, he almost could be a motivational coach. Erikka: Right? Anne: Um, you know, because he is that passionate. Now you work, full-time, you say, at your corporate job and you're doing voiceover as well, and you have a family. So what's the fail first kind of -- does that translate into every aspect of your life as well? Erikka: Four letter word yes. Anne: Yup. Erikka: So all of this really kind of kicked up for me when I started working full-time from home with the pandemic. So that's where I was able to, you know, really dive in and give all my other time to voiceover and still be able to maintain both. 'Cause I was home all the time. The failure, there was boy, and I'm still learning about the self-care aspect, but I kind of really put my family on the back burner for awhile. In my relationship with my boyfriend, we had to really work through that. I'm a hard working woman, and he hadn't been with a woman that was as ambitious as I was before. And I kind of dove in probably a little too hard where I had to learn that you have to live life to be able to give good voiceover. Anne: Oh yeah. Right? Erikka: It can't all be the work. Anne: You've got to rebuild that creative -- Erikka: Yeah. Anne: -- yeah, spark I think. And if you want -- Erikka: You've got to have experiences. Anne: Yeah. You're talking to a workaholic, I get it. I totally get it. And you're right. There's always that balance. And I think I need to sit back and continually remind myself of that balance as well, because I'm like, look, I just want to get to this place. I might be retiring in 15 years. And so I don't want to have to worry about how am I going to pay the mortgage or I want to go travel. And so I'm always working towards something, and I think that a modern mindset of fail fast. I love that. You just twisted that for me, fail fast. Give me an example of the fail fast that worked in your favor because rather than well, let's just, I completely give up voiceover. No, let's just change direction. Erikka: I could talk a little bit -- I saw that P-to-Ps was something that you guys recently talked about as well. So my approach and my philosophy, whenever I talk to people about those, is I feel like they are a lead source, just like people go to Google to go look, they go to those sites, and they're essentially search engines. LinkedIn is a search engine. So there are some that maybe work better than others and some that maybe don't work as well. My approach was to track my ROI as I went, if I was to pay for more, a higher level tier. So if I pay for one, and you know, I'm waiting and I'll see if I need to cancel. If I need to read the next year, rather than sort of throwing all your eggs in one basket and saying, I'm just going to do stuff for my agents, trying different avenues as lead generators for work. Anne: Got it. Erikka: And I keep a close eye on that. Anne: And I think it's all about lead generation, isn't it really, to be successful in this voiceover industry? I mean, because the entrepreneurial, like the fear factor is that we don't necessarily know what work is coming in every single day. Erikka: Yeah. Anne: So being able to secure maybe a steady flow of possibilities, right, and us acting on those possibilities, like the auditions or even just having people find us, that is, I think the hardest part about being a voiceover actor and making that a full-time gig is that you don't know where that next paycheck is coming from. You don't know where the next client is coming from, and having a lead generation software, or you consider your P-to-P lead generation software. Erikka: Exactly. Anne: And even your website, like I said, again, I'm going to go back to your website, because I'm worked in tech and I worked on websites back in the day. I would never do it today. I hire people, but knowing a good website when you get to it and establishing know, like, and trust. People hire people they know, like, and trust. Your website is your online personification of your storefront. And that storefront, if presented correctly, can be an immediate, like I immediately said, yes, that girl is who I want to hire. And it was a visual -- I didn't even listen to anything yet. I went to your website and I said, there she is. It's just stunning. It's the attitude, the confidence, the, you know, and now everybody should be rushing over to your website. But it's so true. It's just so well done. I don't know if you had a website before, and for me there's versions of my website that were failure, you know, fail fast and let's switch it up. Let's see what's working. That's another thing that people come in. It is a first impression. And if that first impression is a fail, switch it up, switch it up. Erikka: You're done. Anne: You're done. Switch it up. Switch it up, you're done. Erikka: Yeah, yeah, yeah. Move on to the next. Anne: Yeah. It honestly has such an effect on first impression. Yeah. She looks like someone I could absolutely trust, and she's just got the goods. Like I want to work with her. Erikka: And yeah, another piece of that is it's the fail fast and often. So when you bring up my website, and it's so funny, I appreciate the compliments. I did build that site myself on Squarespace. Anne: Damn. Erikka: Um, and I'm in the process of having it professionally redone because you know, like you said, I just, I'm like, I'm good, you know, the whole back end piece, you know, to make it really fast. That's not my area of genius. So I'm paying people for that, but it still works. Anne: Absolutely. It still works with that first impression. Right? It's just like just bam, that first page. And that made me want to go investigate more. Erikka: Yeah, yeah. And what I've done to kind of figure out what works is playing with the SEO in there, which I know you love to talk about and so do I, because I love passive ways of generating leads. I want to be in the booth. I don't want to go chase clients. Anne: Isn't that the truth? Like it just saves so much time. I'd rather have someone find me first, that whole SEO thing, especially if it's organic, right? That's all fail fast. Erikka: Absolutely. Anne: And keep adjusting and keep evolving. And it's not hard if you're doing organic SEO. And, and I don't know if I would pay people to do SEO other than having somebody maybe writing press releases and you know, doing that kind of thing. That is something again that can really affect your success in the business. And, you know, success begets success. I keep saying that lately. And I think that it just becomes this wonderful ball of energy -- Erikka: Yeah, absolutely. Anne: -- which when it happens, if you do fail, I always think it's failure on a smaller level. Maybe it's not huge, huge fail when you work with fail fast. I think they're tiny failures, and they're always something that you feel that you can overcome. And I think the confidence of that is so much better than, oh my God, I have failed in a huge way. Let's just P-to-P's just don't work. Let's give them up or I can't get any work. Let's give up voiceover, that's a big fail. You don't want the big fails. You want the little fails that you still have the confidence that, you know what, maybe if this doesn't work, I'll just try this next. And that way it keeps the momentum going. Erikka: And that is the exact rationale behind agile is that it's not saying, go ahead and do the big failures. It's saying, if you, if you are more iterative in your approach as to how you're developing or how you're managing your business, or how you're approaching your auditions, then when you have those failures, they're smaller and you can continue them and recover from them faster and find the success. So yeah, you got it, Anne, you know agile. Anne: I love that. Look at that, so now I know agile. Well, how cool is that? So, and then if we apply this to our businesses, and here's where the creative, because I like having the 50-50 brain, right? Because the tech in me says, let's solve a problem. If it's not this it's this, or let's try this. This could be the other solution. And that's where I think that left brain, right brain thing helps because it does help you fail in smaller ways. And sometimes when I work with people who are completely creative or just come from a creative background, it becomes an all or nothing, almost dramatic sort of failure or success. I think that the small fails is where it's helped me in just having a little bit of that tech brain. And that's why I like the entrepreneurship of the industry, because -- so you've got the, kind of the best of both worlds, right? You've always been an entrepreneur, but now you're also working corporate. So there's a dependability factor there for you, right? You go to work every day, you know what to expect. Hopefully you're getting a paycheck every other week or whatever that is. Right? And that gives you the confidence to really take risks in an entrepreneurial endeavor because you've got a little bit of that cushion. Erikka: Exactly. Yep. And that was the goal. And that's what I tell people is there's this stigma of you have to be either/or. You have to either be an entrepreneur or you're not all in if you're still in corporate. And that is absolutely not true. For me, my job is a source of capital. As I am building my business up, I've crossed the, the goal threshold that I've wanted to get to. And now it's a matter of, you know, when is it gonna make sense for me to just focus on the one, but for now it's working. So why not take that money and invest it in your business? If you can manage both, it is okay to have more than one dream. Anne: I completely agree. And that's kind of why, as an entrepreneur, I've divvied up my own business, my entrepreneurial endeavors into multiple segments. It's not just voiceover for me, because again, that is the most unpredictable source of income because sometimes you just don't know, a job won't come in or you won't get the gig. So building up those other revenue streams on the side, whether you're doing it as an entrepreneurship or it's a corporate or a part-time job. I mean, when I went full-time, I did have a part-time job. I was an office assistant, and that gave me the money that helped pay the bills. And so I feel like that is all part of that mindset, that modern mindset of failure that is very similar to agile, where you make the plan to have the finances come in, to give you the confidence, to take the risks in building your entrepreneurial business. And then that will take off like a snowball. Erikka: There are four like core principles of agile. And one of them is responding to change over following a plan. It's not saying that following a plan is not important or that it's not valuable, but it's if you have one of the two you're going to prioritize responding to change. And that is exactly what you were talking about. I know people where they've, you know, they were full-time. I don't really love the full-time voiceover thing because I know other people that do full-time jobs and are full-time voiceover, like six figures. So, but I know people that have decided to go back and get a job because they wanted to pay off debt or they wanted to have more capital to invest in their business. There's nothing wrong with that. You can change along with the conditions and then alter your plan to fit what's happening right now. Anne: Yeah. I love that. I love that. And also, if you are just full-time voiceover, things are evolving. Trends are changing, um, technology, you and I know, technology is coming, and it is going to change the industry just as it changes all aspects of every industry, technology. And I, I love the fact that I have a technology background. I feel like you enjoy your corporate job just as much as you enjoy voiceover. Erikka: I do. Anne: Yeah. Okay. Erikka: I work with such smart people and I always tell them, like, you guys are so much smarter than me. And I just learn from them every day. Anne: It is inspiring. Erikka: It's inspiring. Anne: It's inspiring. I'll tell you. I've had some podcast guests on here that are brilliant, and it exhilarates me. And it gives me confidence and motivation to just go further and delve deeper into my own entrepreneurialship and my voiceover career. So it's, it's really awesome. I love that we have this whole modern mindset failure based on technology. What a really refreshing conversation. Erikka: Thank you. Likewise. I've really enjoyed this, Anne. Anne: Yes. Oh gosh, BOSSes. Go check out Erikka's website. Thank you so much, Erikka, for being with us today. It's really been a pleasure. Erikka: Thank you, Anne, for having me. Thank you to all the BOSSes. You guys, keep rocking on. Anne: Yeah, all right. I'm going to give a great, big shout-out to our sponsor, ipDTL. You too can nerd out with your colleagues and friends and also countless wonderful things. Find out more at ipdtl.com. You guys, have an amazing week and we'll see you next week. Bye. Erikka: Bye. >> Join us next week for another edition of VO BOSS with your host Anne Ganguzza. And take your business to the next level. Sign up for our mailing list at voboss.com and receive exclusive content, industry revolutionizing tips and strategies, and new ways to rock your business like a BOSS. Redistribution with permission. Coast to coast connectivity via ipDTL.

SufferingSuffering, Ugh!  It's no fun whether physical, mental, emotional or spiritual.  Friends of God are not shielded from suffering but God carries us through.SCRIPTUREMark 8:31(Psalm 130)MUSICJóhannsson_ Good Night, Day

You know this is episode 13 because it is cursed with the kiss FROM HELL yeah yeah yeah this is “Something Wilder” (Original airdate January 30th, 2002. Written by Rina Mimoun and directed by David Petrarca). Jen needs to get her man hating groove back and Dawson is happy to oblige. Meanwhile, Jack's frat attack worsens and Joey must endure said hellish face sucking sesh. UGH. Want a palate cleanser from that evil? Follow us on instagram (@dawsonscreeps) and twitter (@dawsons_creeps). Our antiracism doc is linked on insta and our Spotify playlist Dawson's Creeps - Do You Want to Dance Tomorrow will help you get, if anything, milder. 

Hey all you Alpha females what is up. Ugh welcome to Loose Impediments. Liz and Maya are back to discuss Greyson Scarlett and those ramifications, gender and how it doesn't exist especially in clothing, and the violence and harm of cultural appropriation in golf. On everyone's favorite Lipout, the Jocks revisit the Top 3 PGA Tour players that they would make out with. Who are yours? Fire away on our IG @loose.impediments! See you on the other side! //Loose Impediments is produced by MindYourMedia// --- Send in a voice message: https://anchor.fm/groupgolftherapy/message

Do you consult your inner child when making career decisions? Maybe you should! Anne & Pilar kick off the Boss Voces series at the beginning. They dive into Pilar's journey from young girl singing + mimicking to finance assistant to Colombian telenovela star… Transcript >> It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza. Anne: Hey everyone. Welcome to the VO BOSS podcast. I'm your host, Anne Ganguzza. And today I am honored to bring you special guest cohost Pilar Uribe. Pilar is a bilingual voice actor, telenova star, and radio personality. Born and raised in New York city. She broken this show business with roles from Ugly Betty, Poor Pablo, Eternally Manuela, and El Cartel, filmed in Colombia and Miami. She recorded and produced for WLRN Miami South Florida, and now lives in LA where she records voiceover for television, radio, and films, and last, but certainly not least, she has booth kitties, which are so very important. Yay! Pilar, it's a pleasure having you here today. Thank you so much for joining me. Pilar: I am so glad to be here, Anne. This is a real treat. Thank you. Anne: So, first of all, the booth kitty, I have to know, booth kitties, booth kitty? Pilar: Booth kitty. Anne: Booth kitty. Pilar: Booth kitty. Yes. His name is Paco, Anne: Paco. Pilar: Well, his full name is Paco Del Barrio. Anne: Oh. Pilar: Paco Del Barrio, yes. Anne: Oh, Paco. Now, is Paco in the studio with you right now? Pilar: No, he's not. I know he's outside, and he's sitting on top of the desk where I edit looking like, like, how dare you close that door? Anne: How dare you not pay attention to me? Pilar: Exactly. I need a window for the door. Anne: As you know, we now both have booth kitties and that is a major plus for, I think, productivity in the booth to have booth kitties. They really help you in your daily -- Pilar: Absolutely. Anne: -- your daily booth recordings. Pilar: Yeah, they're very, yes, they're very, they're very observant, and they're very, how can I say this? Anne: They direct well. Pilar: They teach you, they teach you a lot about you as a voice actor. Anne: I agree. Pilar: We'll get into that. Anne: I agree. I think that could be an episode actually, how our pets help us learn about ourselves. For sure. For sure. Pilar: Exactly. Anne: So you're not even like a triple threat. You're like a quadruple, like, you're like multiple, multiple threats, TV, radio, voiceover. Tell us about how you started in the business? Because I think you've got a wonderful story to tell, and we can all learn a lot about how you evolved into your voiceover career. Pilar: Okay. So how much time do you get? Anne: Well, this first episode is about only 25 minutes. So. Pilar: Okay, I'll be quick. Now, I was born and bred in New York. Both my parents are from Colombia, a little town called Ibagué. And, um, I spoke Spanish until I was five. When I went to grade school, high school, I was in all the plays. I played the angel. I, you know, I did all kinds of things, singing groups. I was in the choir. I was in -- Anne: Me too. Pilar: Yeah. Right. You know, you do it all. Anne: Choir thing and you know, that creative. stuff. Pilar: Exactly. Exactly. I went to a girls school, and so we were in this choir, and I was just in this thing called Triple Trio. And we would go to, we would go to boys schools. We would go to boarding schools and sing there and have crushes on all the boys. Anne: Of course. Pilar: So in college I majored in theater and kept studying voice and did musical theater and just all kinds of things. Anne: But not necessarily voiceover, right? You're thinking -- Pilar: No, no, it was all, it was all musical theater or -- Anne: Musical theater. Pilar: Yeah. Anne: Because you sing too. That was the other threat. 'Cause I actually happened upon one of your social media posts the other day. And you were singing. So. Pilar: Yes, I'm really into like the -- so that's the thing. I was kind of born and raised on singing a capella because I would sing with my sister. We had a little duet going, and she would play with the guitar. Sometimes we would play the guitar and sometimes we would just do two voices. So there's this great app called acapella. And I loved just dubbed myself over and over again into like four part harmony. It's so much fun. So in college, I kept singing. I kept with these groups, and I majored in theater, came back to New York. And of course it's a different story now, you know, once you're looking for a job, and I thought, well, okay, I'll, I'll go the corporate route. And I worked for Harper's Bazaar -- Anne: Oh wow. Pilar: for -- yeah. For two and a half years. And I, I totally lived the Devil Wears Prada life. Anne: I was gonna say! Pilar: Oh yeah, all that stuff is true. Anne: In New York too. Pilar: In New York. So I, I was an assistant to an editor, and it was like, oh, what an experience that was. Anne: I can imagine. Pilar: Yes. Yeah. That that's a whole other, that's a whole other story. Then I went to, I moved to Nine West and I started working to helping in design shoes. And all throughout this time, I was taking acting classes because I thought, let me just keep that muscle going. Even though it just, it seemed so far away at the time. And I got laid off. I was the last hired, first fired. There was a whole financial shakeup, and I thought, okay, this is the time to start working on my acting. So I got my headshot and resume together, and I started going out on auditions. And in the meantime I got married. Anne: That's a lot happening. Seems like a lot happening -- Pilar: Yes. And I cleared my throat. Anne: -- short period of time. Pilar: Yes, absolutely. And I cleared my throat because that was a whole experience in itself. So I did theater. I actually, I did "A Chorus Line," and I was probably the only person -- I played Diana Morales, who was the Hispanic character. And she was the one who said, "and I felt nothing, simply nothing." It's such a great song. I love that song. Anne: Lovely. Pilar: I was the only one who could not do a double pirouette, but I got away with it. That's like a requirement for "A Chorus Line," but I could not do a double pirouette to save my life. And if you try doing it, you will fall over. I can tell you right now because I can't, I just, every time I've tried it, I just fall over. I think I did it once in my life, but that's it. So I did a couple of films. I did student films, and I did extra work on "One Life to Live" and "All My Children," and I think there was one called "Passions." Anne: Wow. Pilar: And so that I had so much fun because of course I used to watch those shows, and I used to watch "General Hospital" actually in college. Anne: Oh, of course. Who didn't? Pilar: Remember -- yeah, like, what was it the, uh, the, yeah, there were these scenes, which we can't even say on the air. Anne: I just read something about Luke, that they finally wrote him off. Pilar: Yes, yes, yes! The Luke and Laura scene. Do you remember the Luke and Laura scene? Anne: Yes. Of course, of course. Pilar: Everybody talked about that. Anne: There has to be a moment in time. Like that is, that is ingrained into like the moment in time, uh, television history. And is this what brought you in -- the telenova star? So is that leading us to that place or? Pilar: Yes, yes. Anne: Okay. Pilar: Absolutely. It is. I do have a point and I will -- Anne: No, no, I totally get it. Pilar: So I started seeing in New York that, you know, everybody was hustling, like I was, and I was doing extra work on like a film with Michael J. Fox. And I got to touch Arnold Schwarzenegger's jacket, but I was always, you know, background extra. And I thought, wouldn't it be great to work in a job that is kind of a 9 to 5? And I realized television is that. So I had that dream, and that's why I did the extra work, because I, you know, I wanted to see what was going on in those soap operas. So I separated, and I thought, okay, I'm done. I'm going to go to take a little vacation and go to where my extended family lives, in Colombia, in Ibagué. And I go, and I stay with my cousin, and the third night I'm there, we decide to go to a fortune teller, and fortune tellers are big in Colombia. And I've, I just, I love them. Like they're just so much fun. So I go to this fortune teller, and she reads the way I smoke a cigarette of all things. So she's looking at my ashes as I'm smoking a cigarette, she gives me a cigarette, I start smoking it. And she says to me, pack your bags, get ready because you're going to be really famous. Anne: Ooh. Pilar: And I was like, what? Anne: Who doesn't like to hear that? Pilar: I just, I, but I was so, you know, I was so like, you know, I was so -- I was depressed, and I was going through the whole divorce proceedings. I had been working for Morgan Stanley as an assistant. And, you know, that was just the, the world of finance. I didn't even understand -- Anne: Oh, from fashion to finance. Pilar: Yes, exactly. And then she says this to me, and I'm like, oh, maybe I'm going to be a shoe designer. Maybe I'm going to be the next, you know, Manolo Blahnik. And I was like, I can't, I couldn't imagine that one at all. So my cousin and I, we left and we just laughed it off. So I, I, so I stayed a couple of months, a couple of extra months, and I thought, well, maybe I could live in Colombia. So I go back to New York after three months, and I'm, I get my reel together. And I met a party at my parents' house, and there's this really good friend of my mother's. And she says to me, have you read the book, The Celestine Prophecy? It's by James Redfield. And I was like, no. So I read it. And it was a game changer for me. That's all I can say. It, it just completely changed my perspective. And I started thinking, well, maybe I could do this. Maybe I could work in television. And I had a very good friend of mine who was my vocal coach. And he kind of turned into my mentor, and he started telling me, he said, you know what? I want you to start visualizing what it would be like to stand in front of the camera. I want you to see what it would feel like, what the lights would feel like on you, what it would sound like, the people walking around you, how it would taste if like you were drinking something on set, what it would smell like, and what you would hear and what you, you know, all the five senses and really do like a little meditation about it. And I wasn't into meditation back then at all. But The Celestine Prophecy talks about that a little bit, a lot, actually. So I have my reel, I speak to a couple of networks. I write letters and there are two that are interested, and one of them says, okay, great. We are interested. We want to see you. So I packed my bags, and I pay for my ticket, and I go down to Colombia. Anne: So when you say you wrote the networks, okay. So that's a very broad description. So what specifically? 'Cause that's like, you're marketing yourself. I mean, you've been marketing yourself I feel since you were out of the womb. Right? So in reality, you're sending letters and what are you saying in those letters? Hey, I'd like to meet you? I have acting experience? Pilar: Yes. Anne: I'd like to meet you? Pilar: Exactly. Exactly. Actually you just said, I didn't even realize that, you just turned the button on for me. Anne: Yeah. Pilar: So I was constantly doing that without even realizing. Anne: Without knowing. Pilar: Yeah, because what I had was, it was just a letter with my real back then. It was VHS. Okay? Anne: Yup. Pilar: So I'm really dating myself, you know, saying I have this experience, I have this training, and I'd really like to do TV. And one of the things I learned a long time ago was you can talk about your strengths. There's no need to lie, but you don't have to say, I don't know how to do this. Anne: Sure. Pilar: You can say, I'm very eager to learn. I'm very eager to get into the business because I realized as I was going down there that yes, I had worked in television as an extra. I had worked in film by then. And so I understood how the camera worked. 'Cause it was -- we worked on an entire summer, over a period of weekends on a feature film. So I knew how it worked, but television is very different from film because it's like, boom, boom, boom, here's this scene, set it up, do the scene. And then you've got a whole bunch of other things to do. So it's a lot busier than film. So I didn't, you know, long shots, you know, close-ups, I was still very much of a newbie. So I basically just concentrated on what my skills were. And these two people, they kind of said, yes, you know, one of them said, there's a possible role for you. And the other one was like, okay, well we'll meet you when you come down here. 'Cause I realized I had to go down there. Like they weren't going to sit there and say -- Anne: Sure. Pilar: -- oh yeah, we'll hire you. So that's why I, I made the decision. I packed my bags, and I go. So I get to Colombia and I'm staying with a friend in Bogotá now. 'Cause now I'm staying in the capital. Before I had been staying in Ibagué where my family is from, and I call up the producer and uh, I make an appointment and I get there and I'm like, I'm, I'm really excited. And I'm like, okay, this is it. This is the start of something big. And I get there and she said, that show has been scrapped. And she points to her, this shelf and all the episodes are there. And she's like, that's been scrapped. They're writing a new show. You're going to have to audition for it. And there's nothing, you know, I don't, I don't have anything for you. Anne: Yeah. Pilar: So I'm like, oh my God. So what do I do? I start envisioning what my life is going to be like. So I start making like a little list. Okay. I need an apartment. I need a job. That's my most important thing. I need an apartment and I need a car. So the first thing I would do is that I would call her on a weekly basis, this producer, and I would say, hi, how are you? How's it going? And she knew immediately why I was calling. She like, I don't have anything for you. So I was like, okay, great. That's done. Then I started going out and looking at apartments in Bogotá of where I wanted to live. I mapped out, I walked around a lot. I, you know, I was, this was basically, I was friends were taking mirrors, going in taxis or I was walking, and I found an area that I wanted to live in. And so everybody posted their little -- they did newspapers, but they, you know, they would post it up on the window, and I would look and I would take a look, and I finally found one and I was like, oh my gosh, this is really great. Did the same thing with cars. I went to the car dealerships. I looked at all these cars, and I found the car that I wanted, and I keep calling this woman. And so once a week, and then one day she called me. Anne: Here's the thing. You must've had a good relationship with her if you actually spoke to her, right? Pilar: Yes, yes. Anne: Usually producers, if they're very busy, that somebody else is either taking their calls for them or screening their calls. So if you were actually able to talk to her, you must have had a great relationship, which I think that's a key factor. Pilar: We developed it. It wasn't something that just started out that way. I mean, I always went through her secretary first. Yeah. So it wasn't like -- this was something that developed on a regular basis, but I wasn't like stalking her -- Anne: Right. Pilar: -- or being obnoxious about it. Anne: Right, right, right. Pilar: I was just saying, hey, I just wanted to see. And because I was, you know, this was the lead -- Anne: Keeping top of mind. Pilar: Exactly. Anne: See how I'm -- we're transforming all of this into the current day marketing. Pilar: I love it. I love it. This is awesome. Anne: This is also staying top of mind with the producer. There you go. Pilar: Exactly. Top of mind. So she calls me and she says, I have something for you. And I'm like, oh my God, this is it. This is it. I get to the studio. It turns out it's one episode of a children's show. Anne: Okay. Pilar: And I'm like, oh my gosh, I can't live on this. Anne: Yeah. Pilar: What are you going to do? And I talked to the director, that director, and I kind of, we just started talking, and you know, she knew who I was and she said, oh no, no, no, no, no. You're still being considered for this new show. Don't worry about it because I actually -- just going back a little bit -- I had auditioned for the new show. So, so, okay. So she called me up and she said, I want you to audition for the show. I auditioned for the show. And then she calls me. She said, I have this for you. And it was a children's show. So I was like, oh no, what am I going to do? And she said, no, no, no, no. You're still -- the director for the children's show said, no, you're still being considered. Because this was much smaller than what it is today. You know, in the very first time I went and I auditioned, it was very different from the way I auditioned in New York. So, you know, in New York you get given sides and now you memorize it, but you, you're allowed to have it in your hand. And back there, you, you know, you definitely had to memorize the whole thing. And I was panicked and this guy helped me and it was great. A couple of other weeks go by. And then they call me in for a second audition and that's with the director. He was very stern. And I was really nervous. A couple of weeks later, she called me, and she said, you got the job. So all this work that I had been doing, I, you know, I'm shortening it. I had been looking for the apartment. I'd been -- Anne: You'd been having a vision and meditating -- Pilar: Exactly. Anne: And manifesting. Pilar: Exactly. So once I had all that ready to go, when the call came, and this is over a period of three months that this happened, I was like, okay, great. Now it's time. I can get the car, and I can get the apartment. I can rent the apartment out because now I, now I have somewhere to go because I have a job. Anne: Sure. Pilar: And so actually it was really funny. The head of the network called me, and I, I -- it's kind of amazing that I think about this now -- he called me and he said, I, I, I have to tell you that -- and he kind of called me apologetically. And he said, you're going to be really -- this character, you're gonna be really ugly, and you're going to be really nasty. Anne: All right. Pilar: So I was like, please, you know bring it on. Right? So we start filming, and it's a whole new experience. So I have to start from the beginning again, and I'm learning camera angles, and I'm learning how the business works. And the show comes out and literally, Anne, overnight -- the show comes out like let's say on a Thursday. And the last show that what they did is that they dovetailed the old show, which was one of the most well-known shows in the history of Colombian television. It was called "Café -- Café con Aroma de Mujer." they're redoing it now. And so then ours came in. So we had that huge audience, which had seen the show, and everyone had been glued to the television. And then they saw our show. Anne: Right. Pilar: And I was the first one who spoke on the show. It was really cool. Anne: And you were an ugly, horrible personality, right? Pilar: Exactly. I was just, I snarled, I was a snarler. And so it's kind of like a good luck thing. It's kind of like when somebody says that's a kind of a good luck thing in a film when somebody says the name of the film in a film, it's good luck. And in television, in Colombia, it's like the first person who speaks, that's a good little sign. It's like a good luck charm. So, so I was the first person who spoke, and then literally the next day, I was being recognized -- Anne: Wow, that's great. Pilar: -- on the street. Anne: That's fantastic. Pilar: It was the weirdest thing. And so I was like, oh my gosh, what that lady said was true, that fortune teller. Anne: Right? Pilar: A year before practically it came out. Yeah. It was over a year that she had said that. And I thought, this is so interesting. So basically I manifested my way into this job. Anne: Well, I love that. I think there's a lot to be said. I mean, I, it's a new year, you know, and, and I talk all about how being grateful and then really writing down and thinking and manifesting and about what your goals are. I really believe that it comes true. You actually incorporate the steps to make it true. And interestingly enough, notice how I kept noticing all the marketing things that you were doing, which you weren't even realizing at the time. You were developing a relationship. Right? You were keeping top of mind. You were setting goals in place so that you could achieve them to get where you needed to be. So, congratulations. I mean, that's, that's a great story. Pilar: Anne, where were you, where were you in my life? I wish I could have called you out, like brought you back from the future in. My life would be like, you know, but yeah, exactly. So I started working, and I basically did this over and over and over again -- Anne: Yeah. Pilar: -- because in Colombia, telenovelas only last a year. Anne: Oh, that's what I was just going to ask. How long did the show go on, a year? Pilar: Yep. So yeah, because it was actually a little bit more. We do, we did a lot of episodes. Anne: Is it a daily? Like a -- Pilar: Yeah, yeah. Anne: Okay. Daily for a year? Pilar: So it's a daily, but it's not because it's actually prime time. 'Cause it always came out in prompt time. So they're, they're not exactly soap operas. They're, they're like prime time soap, operas. Let's put it that way. That's what they call them. And really they're more like series. Anne: Yeah. Pilar: Because they're not, they have a beginning, middle, and an end. Anne: Got it. Pilar: They don't last for 20 years like they do here -- Anne: Yeah. Pilar: -- or 30 years. So, you know, there's a story. So, you know, it's like a poor girl meets rich guy. Then he does something to her, and then she makes it on her own. And then she's great. And then they live happily ever after, or there's a tragedy, you know, and so, you know, all kinds of different stories. And I got to play all kinds of different characters. I became known as the bad girl because I was one of many bad girls on that first show with, "Eternamente Manuela," and then I became this super duper evil person. And it's so funny because on Instagram -- Anne: On that show or on other shows? Pilar: No, on that show. Anne: Okay. Pilar: That's what really established me as the resident bad girl. They showed "Eternamente Manuela" after many years. And there're all these people on Instagram who were like, oh my gosh, that was you. You were such a bad girl. And they're constantly giving me snippets and stuff that I didn't see. It's so funny. 'Cause like when you're working, you don't have time to watch your own show. You just don't. That's one of the things that -- so I never saw the show, that the entire show. Anne: You have archives that you can post, or is it mostly your fans that are posting -- Pilar: It's a little bit of both. I have some that I post, but most of the time, they show me things, and I'm like, oh my gosh. And I remember filming it, but I don't remember, you know? So it's really fun. It's really great to like kind of like walk down memory lane. I was doing that a lot this past year. Anne: Yeah. That would make sense that you would be, if it's like a daily thing, and you're in and you're just working all the time, it would make sense that you don't always get to watch. It's like, interestingly enough, the VO BOSS podcast only has weekly episodes, but I don't always get a chance to listen to them after we produce them. So every once in a while, when I get a free moment in my car, I'll listen, and I'll be like, oh, okay. And it brings the memories back. Well, that's a pretty decent episode. Pilar: Yeah, exactly. And then you can look back and go, oh yeah. Right. That's interesting. Oh goodness. Anne: When we're in the middle of the manifestation, we're in the middle of the execution, right, you just have to give it up to faith that we're doing a good job and that our listeners and fans are drinking it all in and liking it. And if it were anything, otherwise they would let us know. So. Pilar: Exactly. Anne: Yep. Pilar: Exactly. Barrel along. Anne: All right. So you are a star, a telanova star. And are you doing any other, are you doing any other shows at this point, other than your daily series? Pilar: Well, I did the first show, then I go and I do a second show. And then my second show, I'm playing a gringa. So "hablo así, hablo muy trabada así, con un acento así." And I just, I had a ball. I dyed my hair blonde. I was a blonde. Anne: Wow. Pilar: I was a blonde, Anne. Anne: Wow! Pilar: Oh my gosh. Blondes do have more fun. I'm here to tell you blondes do have more fun. I had so much fun doing that show, and I did so much improvisation on that show. It was amazing. 'Cause I had the latitude. I would sing because I played this housewife who's being cuckolded by her husband who fell -- who falls in love with the lead. So I sit there and I sing away, and I start singing away in English. And it was so much fun to improv on that show because I could do it. And they would let me, 'cause I was playing an American who spoke Spanish. At the same time -- that was a nightly show -- at the same time, I was doing a series, which was an hour weekly. I got a wig. I got a wig for the show. And so I was this very -- the other woman, she had -- American with an accent. She had blue nail polish. She was, she was really cool. She was really modern, wore these little mini skirts. The other series, she was a recovering alcoholic. So she was very prim and proper lawyer. She had a little sort of Lulu Brooks brown haired bangs. And there were people who did not know that I was in both shows, and that was so much fun to do. So then I added that to the roster at the same time. Anne: So you're doing all TV at this point. Pilar: All TV, but here's the thing. I'm doing a lot of interviews. Anne: Makes sense. Pilar: The interviews, I love doing live interviews, but the way -- when I would have the most fun was when I was doing live interviews were when I was doing radio. I had so much fun doing radio interviews. So I always asked my agent -- like I really liked doing them because there was just something so much fun about the spoken word. So I, I keep doing these shows, and I, I had a band going where we would do these jazz nights every Friday night at this place. And I added theater. And at one point I was doing two shows and a musical. It was a Colombian musical. And so I was doing everything at once. And then at some point along the lines, I did an animated show. So they asked me to do an animated show. And so that, I got to do like a whole, that was a whole different world for me. And that's when I really kind of -- Anne: Started voiceover maybe. Pilar: Yes, that's when I started voiceover. Thank you. Anne: Yeah. Pilar: And um -- Anne: Sounds like voiceover to me. Pilar: And it, it was so much fun though. 'Cause it was different voices and I got to really play around with it. And since they didn't really know what they wanted, I got to do the voices. I got to give them voices. Anne: So let me ask you a question. Now you're doing an animated show, and you're doing voices. Had you in your acting, your previous acting experience or had you had opportunities to do voices or were you training so that you could create different voices for different characters for acting? Pilar: None whatsoever. Anne: Okay. So these were -- Pilar: No, no. Anne: -- just things that you just brought out to life and -- Pilar: They just asked me to do it. So I did. So they would say, well, let's try this. She's a little bit younger. So I would, I would do a younger voice. And so let's try this person 'cause they're this loud, obnoxious teacher. So I would do this loud, obnoxious teacher. Anne: Had you played around with voices -- Pilar: No. Anne: -- when you were young? Pilar: That's not true. My mother would say absolutely because I used to be -- I was a great mimicker from the time I was a kid. Anne: Got it, got it. Pilar: I had a very good friend of mine's mother was German. So I would speak with the German accent and you know, I hear nothign, I see nothing. Anne: Yeah. Pilar: I would -- I was a great mimic when I was a kid. Anne: You know what's so interesting. I just want to break in a little bit. Pilar: Yeah. Anne: Because I find that where we are in life today, a lot of people that, that kind of tend to follow their heart, follow their dreams end up doing a lot of the same things that they do when they're children. So if you're mimicking, right, when you're a child, like I taught my dolls and I was this teacher for 20 years in front of the classroom. And I do e-learning today. So it's just so interesting that things that I loved when I was a kid, I just brought right through to my, up to my adulthood and to what I bring to my work. So, you mimicking and probably you acted. Did you -- I put on little plays too. Pilar: I can so see you doing that, Anne. I don't know why. I can see you as like a little mini Anne with, with her little glasses -- Anne: As a mini Anne. Pilar: -- just kind of, sort of like a little, like a little chorus and kind of like conducting your dolls. Right? Anne: Yeah. I did. I loved it. I loved it. And I brought it right up. I still do that today. It's so interesting. I think if everybody looks back to their childhood, if they're following their heart or, you know, I always say following my gut. I do both. I do it in my business and in my personal life, I follow my gut, and I really believe that we bring those things from our childhood, and it brings me a lot of joy. I'm pretty sure it brings you joy too. Pilar: I agree. That's so interesting that you bring that up. I really, and truly -- I hadn't, I kind of knew that on an intellectual level, but if I, if I really feel it in my gut, that is absolutely where I get joy -- Anne: Yeah. Pilar: -- was from when I was a kid, and I would do that and I would make other people laugh. I would make my mother laugh all the time, you know? Anne: Yeah. Pilar: Wow. Anne: So then yeah, so now you've transitioned, or not necessarily transitioned, but you've added to your repertoire some animation and voiceover. Pilar: Yes. Anne: Wow. Pilar: Yes. Anne: Without even knowing it. Pilar: It was just, it was, it was there. The opportunity was there, because I lived in a -- Bogotá is a place where everything is together. That's not really the case anymore, but it used to be that Los Angeles where it was where you did film and television, New York was where you did more theater. Anne: Yeah. Pilar: And theater, yes. Theater, was in the 50's, there was more television. And then I don't know why or, or what I mean, and I don't know the history of this, but it just became more of a theater town, and you know, then, you know, slowly but surely, they started doing the studios in Queens, and then more film and television came, and now there's a whole bunch more voiceover. And there always was that, but I feel like LA was the big place for all that stuff. And so Bogotá kind of did -- had everything. So I had a lot more opportunity -- Anne: Interesting. Pilar: -- to, to kind of -- Anne: Broaden. Pilar: Yeah, yeah. Broaden my horizons that way. So I basically just went from show to show to show. I never really stopped. There was one show that I did. It was the last show that I got to play a bolero and ranchera singer. I was hired on the basis of, I actually did a, uh -- back in, I was on a, this thing called Restaurant Row in New York, Cabaret Row. It's called, Don't Tell Mama. And I did this show called, um, I can't remember what it was. It was, it was a revue. And I played this character called Nora the Dominatrix. There was this one song that I had to sing. And it was "you ache for the touch of my lips dear, but much more for the touch of my whips, dear. I can raise welts. Like nobody else, as we dance to the domination tango." Anne: Love it. Pilar: So it was, it was so hysterical. And I was, I was all decked out in this whole dominatrix costume. And that was a whole, I actually, to get the costume, when I lived in New York, I went to Patricia Field, which back then, which was on 8th Street. And I walked in and I had to look for like, like I was looking for, I didn't know what I was really looking for. And this one, beautiful, beautiful, tall transvestite comes and says, can I help you, dear? And she had this long blonde hair. And so I'm like, I have no idea what I'm looking for, 'cause I don't know what a dominatrix looks like. I'm supposed to dress like a dominatrix. So there's this woman and she's kind of mousy. She's got a long raincoat on, and she's looking around and the salesperson's helping me. And then she comes up to me and she says, what are you looking for? And I said, well, I don't really know what a dominatrix looks like. She said, I'm a dominatrix. And I look at her and I'm like, oh, and I'm like, do you mind if I get my pen and paper out? She starts telling me what a dominatrix does. She gave me all this information. So I get the outfit and, you know, dog collar, little short shorts, you know, the whole thing, the fishnet stock and a whip. Anne: Yup, yup. Pilar: So for the audition that I did for the, back to what we're talking about, for this show, I wore that whole costume, and they were like, you got the job. Anne: Yep. Pilar: So -- Anne: You walked in, you got it. Pilar: Exactly. And I'm wearing like a little, a little blonde wig. So I had to sing when it was my turn to sing and I don't know why this is, but it was, it was really kind of a unique situation. It was my responsibility. So I would hire these guys, which of course the network paid for. But I, I would hire these -- a mariachi band, and they would come to the studio, and we would sing this song or wherever. And then I would learn the song for that week. And so it was like a little performance. So it was like, I was doing like a little play within the show, and it was such a great experience because I didn't have much time. So I had to -- it was like learning copy. Anne: Sure. Pilar: It's like, I had to, I had to learn the song quickly and have it as if I -- Anne: And deliver. Pilar: And deliver. So it was like, it was all of what I'm describing was just great practice for what I do today. Anne: So now do you come back to New York after a certain amount of time? Or how long are you down in Colombia? Pilar: Nine years. Anne: Okay. Pilar: I'm in, I'm in Colombia for nine years. And so I do all these different things, and my father passed away in '99, and that's when I realized kind of wanted to be near my mother and my sister. But I'm thinking, I don't know if I want to go back to New York. I'd like to try something different. And I thought, well, and I'd always been in love with Miami, because it was so beautiful -- Anne: Yup. Pilar: -- and just like, Ugh. So I wanted to go to LA, but I was too scared. I was like, it's just too big. It's just, there's just too much. I thought, let me try Miami. It's another market. Let me see what it's like. Anne: All right. Pilar: So I get to Miami, I have cousins there and I, I live with them, and I'm like, well, you know, I've been a telenovella actress for the past nine years. I've got all this body of work. I'm set, and I get there, and I don't get one job for a year. And I'm like, oh my gosh, I'm starting again. Anne: And here starts your life in Miami. Pilar: Yeah. Anne: And actually this is a good segue for part two. Part two. So yeah. So we're going to be continuing the story, which is a very interesting story, because I can draw so many parallels to see how you've evolved, how you've grown, and it really draws so many parallels to the voiceover industry and how you can grow as an artist anywhere really, whether you're doing voiceover acting, in television, theater on the stage; it really is such a wonderful, I guess, reveal, Pilar, of your career and how we can, we can learn from that. So I'd like to give a great, big shout out right now to our sponsor, ipDTL. You too can connect and network like a BOSS. You can find out more at ipdtl.com. Pilar, I cannot wait for our next episode to continue the conversation. So thank you so much for being with me today. And we will come back for part two in the next episode. Take care, BOSSes. Bye! Pilar: Thank you, Anne. This was a pleasure. >> Join us next week for another edition of VO BOSS with your host Anne Ganguzza. And take your business to the next level. Sign up for our mailing list at voboss.com and receive exclusive content, industry revolutionizing tips and strategies, and new ways to rock your business like a BOSS. Redistribution with permission. Coast to coast connectivity via ipDTL.

This week's episode takes us from the City Winery at the windy Hudson River to Sunnyside, Queens, through Central Park and up to the Upper West Side. Finally, a date for Valentine's weekend -- and then she got covid -- although at this writing -- I have subsequently found out she has strep throat. - But either way -- UGH. Also, drama and (once again) check issues at the big show at the City Winery; the Full House marathon that soothed me while waiting for the Super Bowl to begin and trying to find a place to get a free meal in NYC. Another exciting episode of Juskow in the City! See acast.com/privacy for privacy and opt-out information.

Ugh - why do so many people get scammed? We work so hard for honest sales and building great relationships, yet someone else is constantly closing the deal to get a credit card number for an extended car warranty phone scam! What is it about the con-artist that lets them close the deal?!

There's a common throughline in this episode: the "good old days" were, in fact, not good. Sheesh? Remember challenges? Ugh. Be glad that it's 9th edition and not 6th, everyone. That shit was dire. https://twitter.com/DB_Sleazy https://twitter.com/BrotherSRM https://www.patreon.com/40kBadcast https://shop.spreadshirt.com/40kBadcast/ contact@40kbadcast.com https://www.facebook.com/40kBadcast/

Ugh, Bigfoot is sucks to find, am I right??? But that doesn't stop John Green from spending the last decade traipsing into the woods of the Pacific Northwest to try and find the elusive "Primate". And, it didn't stop Taylor Guterson who joins us this week from spending 3 years following his and documenting his life both as a Bigfoot hunter and his declining attachments to reality. Finding Bigfoot is a film that skillfully melds the worlds of narrative feature and documentary to capture this portrait of a broken man obsessively pursuing personal and professional redemption in a world where many of those close to him think he's crazy. Plus, David Flora school us on the finer points of correspondence school parapsychology degreases, Conspiracy Bot has trouble with names, and Brent ponders if John is still out because he is trying to satiate his newborns hunger for human flesh, All that and more this week on the podcast 4 out of 5 Sasquatch recommend - Hysteria 51. Watch Finding Bigfoot https://www.imdb.com/title/tt14289970/?ref_=ext_shr_lnk  https://huntingbigfootfilm.com/ Support the show: https://www.patreon.com/Hysteria51 See omnystudio.com/listener for privacy information.

Ugh! I didn't sleep well. Would rather stay in bed but these are the moments when connecting to the deeper parts of ourselves makes a difference.

We said we'd get on a more consistent schedule... Ugh, as IF! Tonight we talked about the 1995 teen movie, Clueless, and listened to the soundtrack! Twitter @199what Instagram @199whatpod Listen to our Spotify "Mixtape" playlist: spoti.fi/2IYuHlp Or listen to the Mixtape on Apple Music: apple.co/2pUi2qI

Ugh, the novel Coronavirus has struck again. And this time, the Maple Leafs have placed nine players and staff into protocol, resulting in a full NHL pause until after Christmas. Spezza is back and so are the boys to recap the dominant win over the Oilers, the Spezza suspension, and the current state of the Maple Leafs covid situation. Lastly, Ryan hits the boys with a secret Christmas topic! Email us at TheLeafscastPod@gmail.com Follow us on Instagram at @LeafsCastPodCast Follow us on Twitter at @TheLeafsCast

Parenting is so hard Kids are so difficult We are so worn out and nothing is working There is nothing to be grateful for Ugh     Although there are times when all of this feels very true, let's also find the courage to look for that which makes it all worth it. We will find many things to be grateful for which may not be immediately visible to us. We begin to see what's there, as soon as we stop ruminating about what isn't there.   Everything we have ever put our energy into, gives us something back.   When we put so much energy into parenting, wouldn't it be only fair that we got some of it in the return? And it does, if we know how to see. We need to look to things that make it all worth it, no matter what.  Take a listen...       Want more ideas? Sign up here for the Emotionally Intelligent Parenting training.   Host: Julia Pappas, Psychologist & Parent Coach With questions and comments, please reach out on Instagram @theparentingpresence. Additional info is available at theparentingpresence.com